GIANNI ROSSI (40s, fit, fiercely determined, a distinctive
scar across his forehead) exits the steak shop with a
sandwich in hand. He walks with quiet confidence through the
streets of South Philly.
EXT. BASKETBALL COURT — DUSK
A group of teenagers crowd a younger boy at the far end of a
cracked basketball court. Aggressive, cornering him.
Gianni slows, watching. He finishes the last bite of his
sandwich, tosses the wrapper in a trash can, and steps onto
the court.
GIANNI
Hey. That’s enough.
The teens turn. SPIDER (17, smart-mouth, attitude) steps
forward, a cheap pistol barely hidden in his waistband.
SPIDER
Old man, you lost?
GIANNI
Just hate seeing kids act like
punks.
Spider pulls the gun and points it at Gianni. The other teens
start jeering.
SPIDER
I’ll give you three seconds to get
the hell outta here.
Gianni raises his hands, turns like he’s leaving.
He spins. Gun drawn from the front of his waistband. One
shot.
Spider yells in pain — the bullet catches him in the arm. The
gun clatters to the pavement.
The other kids scatter fast, climbing fences, vanishing into
alleys.He points it at the other kids, and they scatter. They
scramble over fences, then disappear down side streets and
alleys.
Gianni goes his way. He climbs three concrete steps and
enters a run-down row house.
Genres:
["Action","Crime","Drama"]
Ratings
Scene
2 -
A Dangerous Encounter
INT. FRANCO'S HOUSE - SOUTH PHILLY — NIGHT
FRANCO (17, wiry, nervous), one of the kids from the court,
bursts in. LUCA (40s, calm but sharp) pours espresso into two
cups.
He looks Franco over.
LUCA
I see you had a rough night. Want
to tell me what happened?
FRANCO
Nothing happened.
LUCA
Save the lies for your teachers, or
your mother.
Franco pours himself a cup of espresso and sits at the table
across from his grandfather.
LUCA (CONT’D)
So what happened?
Franco sets his cup on the table and looks around. He leans
in and whispers.
FRANCO
I was hanging out with some guys,
and they tried robbing some new
kid.
LUCA
Tried?
FRANCO
Yea, some older guy showed up. He
yells "hey, you kids don't need to
do this; leave the boy alone. Get a
damn job, and you won't need to rob
others.”
(a beat)
Then Spider pulled a gun on him. He
wouldn't have shot him. He just
wanted to scare him.
LUCA
But ...
FRANCO
But the old man turned around like
he was scared and leaving, then
before we knew it, he spins and
shoots. He hits Spider in the arm.
We were shocked, but then he
pointed the gun at us and we ran.
Luca is dumbfounded.
LUCA
Are you sure he did that? He spun
and shot, and without aiming?
FRANCO
Didn't even pause. It was like he
knew he would hit Spider. He knew.
(curious)
Why did you ask, Uncle Luca?
Luca waves his hand dismissively.
LUCA
I used to know someone who did
that.
FRANCO
(excitedly)
You think it's him?
Luca shakes his head.
LUCA
It can't be. He's been dead a long
time.
He furrows his brow as he shakes his head.
LUCA (CONT’D)
It can't be.
Luca puts a few biscotti on his plate and slowly sips his
espresso after into biting one.
LUCA (CONT’D)
Where did you say you saw him?
FRANCO
He was over at the courts by Pat's.
I'm guessing he lives by there
because he didn't have a car. If
you want, we can go by there
tonight; maybe he'll be back.
LUCA
We'll see.
Franco grabs a basketball and heads for the door.
FRANCO
Oh, yea. He also had a nasty scar
on his face.
Luca spins in his seat and stares. When he speaks, it's in a
raised voice.
LUCA
Where on his face?
Franco points to his forehead.
FRANCO
All the way across his forehead.
FLASHBACK — BENSONHURST, 1990s — NIGHT
GIANNI (V.O.)
The scar on my head is not an
embarrassment or even a regret;
it’s a reminder — a reminder of
what not to do. Never act rashly,
always know your target, plan every
detail of the job.
(a beat)
It started innocently enough. Luca
and I were pitching quarters in the
alley behind Cenzo’s smoke shop.
Genres:
["Crime","Drama"]
Ratings
Scene
3 -
A Mysterious Opportunity
EXT. SMOKE SHOP — ALLEY
YOUNG GIANNI (17) and YOUNG LUCA (17) stand behind the smoke
shop pitching quarters against the brick wall on the other
side of the alley.
Gianni laughs as he walks over to pick up his winnings.
GIANNI
I think somebody needs to practice.
That’s four in a row.
LUCA
Go to hell. You’re just lucky.
Gianni flips a quarter in the air and waits until it almost
hits the ground, then he kicks it with his foot and catches
it in his shirt pocket.
GIANNI
When you can do that, you might —
might — win once in a while.
CENZO ROMANO (50s, peppered hair on the sides, firm) walks
down the alley holding a wad of cash.
CENZO
You want to make a few bucks?
Luca looks to Gianni, then back to Cenzo.
LUCA
Hell, yeah. What do we do?
CENZO
I got a bag I need delivered to
Sammy’s. It’s not far.
GIANNI
I know where it is. What’s in the
bag?
CENZO
The bag isn’t your business. All
you need to do is deliver it.
LUCA
How much?
GIANNI
Not so fast, Luca.
(to Cenzo)
If you won’t tell us what’s in
there, it’s got to be worth twenty
bucks — each.
Cenzo laughs, but then he peels two twenties from the wad of
cash and hands them to Gianni and Luca.
CENZO
All you need to do is hand the bag
to Sammy, but to Sammy. No one
else. And if the cops stop —
Gianni nods.
GIANNI
We got it. We found the bag on the
street.
Cenzo laughs again and walks back down the alley.
CENZO
The bag’s out here. Come see me
tomorrow if you want more work.
Genres:
["Crime","Drama"]
Ratings
Scene
4 -
Confrontation in Little Italy
INT. LITTLE ITALY — SMOKE SHOP — DAY
When Gianni walks in, a bell above the door rings, and
seconds later, a hidden back door opens.
Freddy opens the back door and pokes his head inside.
FREDDY
Hey, Cenzo. Your boys are here.
Cenzo walks in wearing a smile. Gianni steps up to him and
stares.
GIANNI
Where’s the bag?
CENZO
Follow me. I’ve got something
different for you today.
Gianni glances at Luca, then they follow Cenzo into the back
room. Cenzo walks to a corner table and invites them to sit.
CENZO (CONT’D)
This punk kid’s been selling dope
on the corner by the school. He
says he’s got Russian protection.
LUCA
You want us to scare him?
CENZO
I can’t have dope sold in my
neighborhood. I want him gone.
He hands Luca a clean gun. Luca tucks it in his waistband,
but Gianni hesitates, but then he takes it.
EXT. STREET CORNER — LATER
VIKTOR (25, twitchy) leans against a wall, but keeps an eye
on Gianni and Luca as they approach. He sees the bulges in
their waistbands and grips a knife in his pocket.
Gianni and Luca approach as if they’re looking to buy, but
when the get close, Luca pushes him against the wall. Gianni
moves in to help Luca.
LUCA
I think you need to move your
business.
Viktor pulls his knife and slashes Gianni across the
forehead. Blood spews out, and Gianni falls. Luca draws his
gun and fires two shots, dropping Viktor, then he helps
Gianni stand.
LUCA (CONT’D)
Come on. I’ll get you to a
hospital.
GIANNI
No hospitals. Take me to Cenzo.
INT. SMOKE SHOP - BACK ROOM — MOMENTS LATER
Gianni sits still as an OLDER MAN stitches his forehead.
Cenzo watches from the side, a thin smile on his face.
CENZO
You’ll remember this. But it’s what
you remember that matters.
BACK TO PRESENT
Genres:
["Crime","Drama"]
Ratings
Scene
5 -
Night Vigil
EXT. SOUTH PHILLY — FRANCO'S HOUSE — NIGHT
Luca knocks on the screened-in door, and it opens almost
immediately. Franco slips his arm into the sleeve of his
hoodie and joins Luca.
LUCA
Where’d you say it happened?
FRANCO
By Pat’s, and he didn’t have a car.
He just walked off.
Luca nods slowly, lost in thought.
FRANCO (CONT’D)
You think it’s him?
LUCA
It can’t be.
FRANCO
Uncle Luca, you don't have to do
this. I’m not gonna hang out with
those other guys, so I won't be
getting into trouble anymore.
LUCA
No worry. I'll talk to the man.
Franco glances sideways and notices the bulge of a gun in his
uncle’a waistband.
FRANCO
Uncle Luca, what are you doing with
that gun?
LUCA
If it’s him, I’ll do what I should
have done many years ago.
Franco grabs Lucas’s hand and squeezes tightly. He looks up,
and his lips quiver.
FRANCO
I'd rather just go home.
LUCA
So would I, but I can't. I'll tell
you what we can do though. We'll
sit on the stoop across the street,
and if you see him, point him out
and then go home.
FRANCO
But what about you?
Luca pats his shoulder.
LUCA
Don't worry about me.
Genres:
["Crime","Drama"]
Ratings
Scene
6 -
Cold Nights and Hidden Past
EXT. PAT'S STEAKS - NIGHT
Luca breathes hot air onto his hands to stay warm.
LUCA
You still awake?
Franco nods.
LUCA (CONT’D)
Rub your hands on your legs real
fast; it'll keep them warm. Or you
can cup them and breathe into them;
that'll do it too.
FRANCO
Did you used to come here when you
were young, Uncle Luca?
LUCA
I probably would have, but I wasn't
from around here. I was from New
York.
FRANCO
Why did you come here?
LUCA
Sometimes people do things for no
reason. And sometimes they do
things they shouldn't have.
Franco looks up at him, his brow furrowed.
FRANCO
I don't understand.
Luca reaches over and tousles Franco's hair.
LUCA
I don't know that I do either, but
go home; I'll stay here and watch.
When Franco hesitates, Luca grabs hold of his hoodie and
shakes him.
LUCA (CONT’D)
I said go home.
Genres:
["Crime","Drama"]
Ratings
Scene
7 -
Reunion on Passyunk Street
EXT. SOUTH PHILLY — DAY
Luca rubs sleep from his eyes as he makes his way to the
stoop across from Pat’s. Gianni’s waiting in line to order a
cheesesteak.
MAN AT WINDOW
How many? Wit or witout?
GIANNI
Two with onions and mushrooms.
MAN AT WINDOW
Next window.
(voice fading)
To new customer.
MAN AT WINDOW (CONT’D)
How many? Wit or witout?
Gianni squirts ketchup on his sandwiches, then walks away. He
walks slowly down Passyunk Street, munching on his
cheesesteak all the time. He heads east on Wharton to Eighth,
takes a left on Eighth and goes north for one block before
taking a right on Latona.
Luca removes the gun from his coat pocket and holds it in his
hand as he approaches the corner.
Gianni presses himself against the brick wall, and waits
until he hears footsteps approaching before he pulls his gun.
When Luca cautiously turns the corner, Gianni is waiting, gun
drawn. Luca steps back, startled. He squints and stares.
LUCA
Gianni! Jesus Christ, I thought you
were dead.
GIANNI
And I thought you were in New York.
Gianni lets go of his gun and hugs Luca.
LUCA
You son of a bitch, you made me say
all those prayers for nothing.
GIANNI
They must have done some good
because I'm still here.
Gianni places his arm on Luca's shoulder.
GIANNI (CONT’D)
Let's go to my house and talk.
LUCA
We got a lot to go over.
GIANNI
You'd be dead if you were this
sloppy when I knew you.
Luca smiles and hugs Gianni.
LUCA
But I'm not that sloppy.
GIANNI
You mean you didn't used to be.
Gianni climbs a few concrete steps and opens the door to a
middle-of-the-block row house.
GIANNI (CONT’D)
Come in and have a glass of wine.
We can talk about the old days.
LUCA
I think about them a lot.
Gianni takes a sip of wine, then closes his eyes and leans
back in the chair.
GIANNI
I do too, Luca. All the time. I
think it all started the night of
the dance.
(a beat)
And if I fall asleep, just let
yourself out. I need rest.
FLASHBACK: THE DANCE
Genres:
["Crime","Drama"]
Ratings
Scene
8 -
A Father's Request
INT. CAFE - DAY
Cenzo sits with Gianni, both drinking espresso. The
atmosphere is casual but there's an underlying tension.
CENZO
Are you ready to get back into
things?
Cenzo gestures to his forehead.
CENZO (CONT’D)
I mean after that incident.
Gianni shrugs, running his finger along the rim of his cup.
GIANNI
It depends on what you've got in
mind.
CENZO
The first assignment is simple.
(leans forward)
I need someone I trust to escort
Clorinda to the Bianchi charity
dance.
Gianni looks up, surprised.
GIANNI
Your daughter? I thought she had a
boyfriend.
CENZO
Not anymore. And I need eyes on
her. There are too many wrong types
showing interest.
Gianni hesitates, clearly uncomfortable.
GIANNI
I don't know, Cenzo. She's your
daughter.
CENZO
Which is why I'm asking you.
Cenzo puts his hand on Gianni’s shoulder.
CENZO (CONT’D)
You're family, Gianni. I trust you.
Genres:
["Crime","Drama"]
Ratings
Scene
9 -
Dancing on the Edge
INT. BALLROOM - NIGHT
Gianni and Clorinda enter a huge room decorated with ornate
chandeliers that hang from high ceilings. Notable artwork
hangs on the walls and commissioned sculptures are placed
strategically throughout the room.
The city’s elite creates a buzz of talk: gossip, small talk,
politics, and upcoming business deals.
Gianni stands awkwardly in a tuxedo that fits him too well.
CLORINDA (25), stunning in a red dress, approaches with two
champagne flutes.
CLORINDA
You look like you'd rather be
anywhere else.
She hands him a glass. Their fingers touch briefly.
GIANNI
Your father asked me to be here.
CLORINDA
And you always do what my father
asks?
Gianni sips his champagne instead of answering.
CLORINDA (CONT’D)
(smiling)
Dance with me.
Before he can respond, she takes his hand and leads him to
the dance floor.
They move together to the music, and despite his reluctance,
they fit well together. Gianni continually moves away and
Clorinda continually moves closer than necessary.
CLORINDA (CONT’D)
(whispering)
I've seen how you look at me when
you think no one's watching.
GIANNI
Clorinda, I work for your father.
CLORINDA
You work with my father. There's a
difference.
GIANNI
I think Cenzo would argue that.
She presses closer. Gianni maintains composure but his
discomfort grows.
Genres:
["Drama","Crime","Romance"]
Ratings
Scene
10 -
Boundaries in the Night
INT. CAR - NIGHT
Gianni drives, Clorinda beside him. City lights flash across
Gianni’s face as he reaches to turn up the radio.
CLORINDA
You're too quiet.
GIANNI
I’m focused on driving.
Clorinda slides closer and places her hand on his thigh.
CLORINDA
We don't have to go straight home.
Gianni gently moves her hand away.
GIANNI
Your father trusted me.
CLORINDA
(sharper now)
My father doesn't own me. Or you.
She leans over and kisses Gianni’s neck. He jerks away, the
car swerving toward the other lane. Gianni brings it back
into his lane and yells.
GIANNI
Clorinda, stop!
CLORINDA
What are you afraid of?
GIANNI
I respect your father.
CLORINDA
(taunting)
So that's it? The great Gianni is
afraid of my father.
Gianni pulls the car over abruptly and turns to face her.
GIANNI
This isn't about fear. It's about
respect — for him and for you.
Clorinda runs her long nails down the side of his face.
CLORINDA
No one needs to know.
Gianni gently removes her hand.
GIANNI
I would know.
She sits back, studies him with a new look.
CLORINDA
(quietly)
You really are different.
Gianni takes a few breaths, then starts the car again. As
they drive, Clorinda watches him with a mix of frustration
and newfound respect in her expression.
Genres:
["Drama","Romance"]
Ratings
Scene
11 -
A New Chapter in Bensonhurst
EXT. BENSONHURST - SATURDAY MORNING
Lido pulls up in a Lincoln and parks next to the curb by
Sammy’s place. He puts the car in Park, then listens to an
old tune on the radio. He checks his watch and is about to
pull out, when he sees Gianni and Luca walking his way.
Freddy leans his head out the window.
LIDO
Get the fuck in the car. Been
waitin’ half the day.
EXT. ROMANO HOUSE — DAY
Lido drives across town to a nicer section of Bensonhurst.
The houses are freshly painted and each one has a manicured
garden. He drops them off in front of Cenzo’s house, then
they go inside and talk with Cenzo.
CENZO
It’s time for both of you to take
on more responsibility.
LUCA
What do you need us to do?
CENZO
You won’t get orders from me, but
you’ll do whatever Freddy or Lido
tells you.
Gianni and Luca both nod.
GIANNI LUCA
I’m ready. We’re ready.
Cenzo raises his cup of espresso and toasts them as if it
were wine.
CENZO
Good. See Freddy at the shop ever
morning and he’ll tell you what
needs to be done.
MONTAGE: RISING UP THE RANKS.
- Gianni and Luca run numbers for Cenzo.
- Gianni and Luca lay off bets at the track.
- Gianni and Luca book bets from local gamblers.
- Gianni and Luca enforce Cenzo’s rules on drugs.
END OF MONTAGE.
Genres:
["Crime","Drama"]
Ratings
Scene
12 -
Trust and Ambition
INT. SMOKE SHOP — DAY - YEARS LATER
Gianni goes to work and sees Cenzo handing Luca a bag.
CENZO
Don’t come back till it’s gone.
Hear me?
Luca nods and takes off, clutching the bag as if it were
gold.
Gianni walks up to Cenzo, sporting shades and the newest
fashions.
GIANNI
What’s wrong? I’m not good enough
to deliver that?
Cenzo pulls him close and hugs.
CENZO
It’s not that you’re not good
enough. It’s nasty business. If the
cops catch you running numbers,
it’s an easy fix. But if they catch
you with drugs ... it’s different.
Cenzo shrugs.
GIANNI
But it pays more?
CENZO
It pays more, but the dirty work
always does. You’ve got a head for
business and an eye for talent.
Learn to use those skills and
you’ll be far better off.
GIANNI
But in the meantime, Luca will make
more money?
CENZO
In the meantime.
Gianni removes his shades and sets them on the table.
GIANNI
When will I make more money?
CENZO
When I pay you more. Until then,
keep collecting, and show me you
can do something new.
Genres:
["Crime","Drama"]
Ratings
Scene
13 -
A Shift in Focus
INT. SMOKE SHOP — NEXT DAY
Freddy opens the door and welcomes Gianni inside.
FREDDY
You here for work?
GIANNI
He asked me to stop by.
Freddy hands a list of names to Gianni.
FREDDY
The people on this list bet the
numbers every day. Collect their
money, write down their choices,
and bring the list back here so we
can record it.
Montage: Gianni collecting bets.
- Gianni makes rounds to people’s houses and collecting bets.
- Gianni stops by local bars and cafés.
- Gianni uses his own system of recording the bets so the
police can’t identify them or prove they were bets on the
numbers.
- Gianni hands the bets and the money to Freddy at the end of
the day.
END OF MONTAGE.
Freddy takes the bag Gianni hands him, but as he sorts
through the slips, he looks at Gianni.
FREDDY (CONT’D)
Kid, how the hell am I gonna make
sense of this? You got nothin’
connected.
Gianni grabs several of the slips and spreads them on the
table.
GIANNI
I’ve got a system, Freddy. I don’t
keep bets on the same sheet as
their names. That way, the cops
can’t do anything — to them or me.
FREDDY
And you know who bet what?
GIANNI
Like I know my name.
Gianni and Luca move up through the ranks, both with their
own strengths and weaknesses. One day, Cenzo is there when
Freddy gives them their jobs.
CENZO
Come with me.
Cenzo gestures for them to follow him into the back room. The
sit at a small table and Freddy brings a pot of espresso and
pours a few glasses.
CENZO (CONT’D)
Forget about collecting bets for
now. I want you to go with Frankie
Naps.
Luca sits up straight, his eyes wide.
LUCA
Frankie Naps? The hit man?
Cenzo frowns and glares.
CENZO
Remember I told you that you both
had faults? Gianni thinks too much,
and you —
He points to Luca.
CENZO (CONT’D)
Don’t think enough. Don’t ever talk
about “hit men” again while you’re
in my presence.
Luca gulps.
LUCA
Sorry.
CENZO
Freddie will tell you where, and
Frankie will pick you up and
provide details.
Gianni nods but remains silent, his face unreadable.
Genres:
["Crime","Drama"]
Ratings
Scene
14 -
Under the Flickering Light
EXT. STREET CORNER - NIGHT
Gianni and Luca wait under a flickering streetlight just as
Freddy instructed. They both pull their collars up and zip
their jackets as it starts drizzling.
LUCA
(excited)
This is it, man. The big leagues.
GIANNI
(quietly)
This isn't a promotion.
A black Cadillac pulls up, windows tinted. The back door
opens.
INT. CADILLAC - CONTINUOUS
FRANKIE NAPS (50s) sits in the back, a heavyset man with
thinning gray hair and dead eyes. Despite his nickname, he
looks wide awake. His hands are immaculately manicured and
his nails are buffed to a shine.
FRANKIE
(gesturing them in)
Let's not advertise.
Gianni and Luca slide into the back seat. The driver, a
silent mountain of a man, pulls into traffic.
FRANKIE (CONT’D)
(studying them)
So you're Cenzo's new projects.
Luca opens his mouth to speak. Frankie silences him with a
look.
FRANKIE (CONT’D)
I'm not interested in conversation.
He reaches into his coat pocket and produces a photo.
FRANKIE (CONT’D)
Antonio Torriano. He owns the
sports bar on Mulberry, and he’s
been skimming from Cenzo for six
months.
Gianni looks at the photo — a middle-aged man with his arm
around a young boy.
GIANNI
Who's the kid?
FRANKIE
His son, but he shouldn't be there
tonight. The wife takes him to his
grandmother's on Thursdays.
Frankie slips on leather gloves, slowly working each sausage-
thick finger in.
FRANKIE (CONT’D)
I handle this alone. You two stay
by the car. This is educational.
LUCA
(disappointed)
We're just watching?
FRANKIE
(cold smile)
For now. You gotta earn your bones
first.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
15 -
Moral Dilemma at the Sports Bar
INT. CADILLAC - LATER
As they drive, Gianni studies Frankie.
GIANNI
You've worked for Cenzo long?
Frankie's expression remains unchanged.
FRANKIE
Before Cenzo, I worked for his
father. Before that, I was with
another crew in the Bronx.
LUCA
How many —
FRANKIE
(cutting him off)
Don't ask questions you don't want
answers to.
Frankie adjusts his cuffs - gold cufflinks in the shape of
saints.
FRANKIE (CONT’D)
(almost to himself)
My father wanted me to be a
surgeon. He said I had the hands
for it.
(looking at his hands)
Steady. Unshakeable.
EXT. SPORTS BAR - NIGHT
The Cadillac parks across the street. The bar is mostly
empty. Through the window, ANTONIO TORRIANO (45, hardworking)
can be seen cleaning up.
FRANKIE
Remember, stay here.
Frankie exits the car, straightening his tie.
LUCA
(whispering excitedly)
This is gonna be something.
GIANNI
(noticing something)
There's a kid inside!
A BOY (12) is visible through the window, sweeping up.
GIANNI (CONT’D)
Frankie said the kid shouldn't be
there.
LUCA
Not our problem.
Gianni reaches for the door handle.
LUCA (CONT’D)
(grabbing his arm)
What are you doing? Cenzo said —
GIANNI
I don't care what Cenzo said.
There's a kid.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
16 -
Tragedy at the Bar
INT. SPORTS BAR - CONTINUOUS
Antonio looks up as Frankie enters, immediately sensing
danger.
ANTONIO
Salvie, go to the back.
The boy looks at Frankie and hesitates.
FRANKIE
(pleasantly)
Hello, Antonio.
Frankie reaches inside his jacket just as Gianni bursts
through the door.
GIANNI
Frankie, the kid —
Everything happens at once. Antonio reaches under the
counter. Frankie pulls his gun. The boy freezes in place.
BANG! A shot fires, then two more. In the chaos, the boy is
hit. He crumples to the floor.
ANTONIO
(anguished scream)
Salvie!
The room freezes. Frankie's face shows genuine shock.
FRANKIE
(whispered)
Christ.
Antonio dives for his son. Frankie recovers first, raises his
gun toward Antonio.
GIANNI
(shouting)
No!
Gianni lunges, knocking Frankie's arm just as he fires again.
The bullet hits the wall.
FRANKIE
(to Gianni, furious)
You stupid —
Sirens wail in the distance.
FRANKIE (CONT’D)
We're leaving.
GIANNI
We need to get help —
FRANKIE
(grabbing him)
The kid's gone. Nothing we can do.
Frankie drags Gianni out, leaving Antonio cradling his son's
body.
EXT. SPORTS BAR - CONTINUOUS
Luca is in the car, panicked. Frankie shoves Gianni into the
backseat, and they peel away just as police lights appear
around the corner.
INT. CADILLAC - CONTINUOUS
Silence fills the car. Frankie stares straight ahead, his
composure cracked.
FRANKIE
(quietly)
Wasn't supposed to happen like
that.
GIANNI
(seething)
What happens now?
FRANKIE
Now?
(beat)
Now Cenzo hears about this. And God
help us all.
The car makes a familiar turn toward Cenzo’s house.
GIANNI
Are you going to Cenzo’s?
FRANKIE
He’d be pissed if we waited.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
17 -
Consequences in the Kitchen
INT. CENZO'S HOME - KITCHEN - NIGHT
Cenzo sits at his kitchen table in a bathrobe, a glass of
wine in front of him. The house is silent, dark except for
the single light above him. The phone RINGS, shattering the
quiet. He answers it.
CENZO
(into phone)
Yes?
He listens, his expression hardening.
CENZO (CONT’D)
Bring them here.
EXT. CENZO'S HOME - LATER
The Cadillac pulls up to an elegant brownstone. Frankie,
Gianni, and Luca exit. Luca looks like he might vomit.
LUCA
(whispers)
His house? Not the office?
FRANKIE
Shut up.
INT. CENZO'S HOME - KITCHEN - MOMENTS LATER
The three men stand before Cenzo, who remains seated. His
wife MARIA (50s, elegant even in a nightgown) stands in the
doorway, watching.
MARIA
(to Cenzo)
Should I go upstairs?
CENZO
Do as you like.
Marie turns and leaves. Her soft footsteps are heard as she
climbs the stairs.
Frankie begins to speak, but Cenzo silences him with a raised
hand.
CENZO (CONT’D)
One detail at a time. No
interpretations. Just facts.
Frankie nods, recounts the night's events. When he finishes,
Cenzo looks at Gianni.
CENZO (CONT’D)
You went in when you saw the boy?
GIANNI
Yes.
CENZO
Why?
GIANNI
It wasn't right.
CENZO
Our business isn’t about what's
right?
Cenzo turns to Luca.
CENZO (CONT’D)
And you stayed in the car.
Luca nods, trying to look dignified but failing.
LUCA
I was following orders.
Maria steps back into the kitchen, now dressed more
appropriately. She pours herself a glass of whiskey.
MARIA
(to Cenzo)
A child is dead?
Her voice carries unexpected weight. Cenzo looks at her, then
back to the men.
CENZO
(to Frankie)
You're on a plane tomorrow.
Palermo, not Naples. My brother-in-
law will be expecting you.
FRANKIE
For how long?
CENZO
Until I say otherwise.
Frankie nods, accepting his fate.
CENZO (CONT’D)
(to Luca)
You'll work with Rocco now.
Collections only.
Luca swallows, clearly demoted.
CENZO (CONT’D)
(to Gianni)
You stay with me.
LUCA
But he's the one who —
CENZO
(cutting him off)
The one who what? Who tried to
prevent a child's death?
Luca falls silent. Maria studies Gianni with new interest.
CENZO (CONT’D)
Get out. All of you.
Frankie and Luca exit quickly. As Gianni turns to follow,
Cenzo speaks again.
CENZO (CONT’D)
Not you.
Gianni stops, waits.
CENZO (CONT’D)
Sit.
Gianni sits across from Cenzo. Maria brings another glass,
and pours whiskey for Gianni, then leaves them alone.
CENZO (CONT’D)
My father had a rule. No women, no
children.
GIANNI
That’s a good rule.
CENZO
But accidents happen.
GIANNI
This didn't have to.
CENZO
(almost amused)
You have nerve, speaking to me this
way.
Gianni just looks at him.
CENZO (CONT’D)
You think I'm a monster.
GIANNI
No. I think we're in a business
where monsters are made.
Cenzo studies him for a long moment.
CENZO
The boy's mother.
(beat)
She'll need to be taken care of.
GIANNI
Money won't bring her son back.
CENZO
No. But poverty on top of grief is
a special kind of hell.
He slides an envelope across the table.
CENZO (CONT’D)
Do it anonymously. but make sure
she's provided for.
GIANNI
Why me?
CENZO
Because you care. That makes you
dangerous ... but useful.
Gianni takes the envelope.
CENZO (CONT’D)
(quietly)
This life requires balance, Gianni.
Men who only know violence, men who
flinch at it — both are
liabilities. The valuable ones
understand the necessity but
remember the cost.
He downs his whiskey.
CENZO (CONT’D)
Go. I don't want to see any of you
for two days.
Genres:
["Crime","Drama"]
Ratings
Scene
18 -
Into the Shadows
EXT. CENZO'S HOME - MOMENTS LATER
Gianni exits alone. The Cadillac is gone. He stands in the
cold night air, envelope in hand, the weight of the evening
visible in his posture.
He walks away slowly, then stops, leans against a streetlamp,
and vomits violently into the gutter.
After a moment, he straightens, wipes his mouth, and
continues walking into the darkness.
MONTAGE - GIANNI'S RISE - OVER THE NEXT YEAR
— INT. RESTAURANT - NIGHT:
Gianni sits beside Cenzo at a dinner meeting with other MAFIA
FIGURES. Older men glance at him with curiosity. Cenzo
introduces him with a hand on his shoulder. No Luca in sight.
— INT. BACK ROOM - DAY:
Gianni examines ledgers with Freddie, Cenzo's accountant. He
points out discrepancies, learns the business from the
inside. Freddie looks impressed.
— EXT. CONSTRUCTION SITE - DAY:
Gianni mediates between UNION LEADERS and FOREMEN, resolving
a dispute without threats. Cenzo watches from his car,
nodding approval.
— INT. BASEMENT ROOM - NIGHT:
Gianni observes as a MAN is beaten by Cenzo's enforcers. His
face shows no emotion, but his fingers grip his chair
tightly. He's learning to wear a mask.
— INT. CENZO'S OFFICE - DAY:
Cenzo hands Gianni a gun, their eyes meet with understanding.
A threshold crossed.
— EXT. ALLEY - NIGHT:
Gianni waits in shadows as a TARGET approaches. His hand
moves inside his jacket. He hesitates, then follows the man.
We don't see what happens but only Gianni walks away
afterward, his face is impassive but his eyes are haunted.
— INT. CENZO'S HOME - NIGHT:
A celebration. Gianni sits at the table with Cenzo's family.
Maria treats him almost like a son. Clorinda watches him from
across the table. Luca serves drinks, demoted to waiter
status. His eyes burn with resentment.
END MONTAGE
INT. CAR - NIGHT
Gianni sits in the back of a black sedan. He wears a sharper
suit and has harder eyes. Angelo (40s) drives. He parks
outside a nightclub.
ANGELO
He'll come out the back in twenty
minutes. I paid the bouncer.
GIANNI
And the witnesses?
ANGELO
What witnesses? The back alley's
always empty this time of night.
Gianni nods, checks his gun with practiced ease. No fumbling,
no hesitation.
ANGELO (CONT’D)
(watching him)
You've come a long way. Cenzo says
you've got a gift.
GIANNI
For what?
ANGELO
Doing what needs doing without
enjoying it too much.
Gianni says nothing, but watches the club entrance.
ANGELO (CONT’D)
(continuing)
That's the trick. The ones who like
it get sloppy. The ones who can't
stomach it get caught.
GIANNI
And me?
ANGELO
You're a professional. Like Frankie
was, but smarter.
(beat)
But you still think too much.
GIANNI
Thinking keeps me alive.
The back door of the club opens. Their TARGET emerges.
ANGELO
Your call. I'm just the driver.
Gianni is in charge now. He opens the car door.
GIANNI
Wait here.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
19 -
A Heavy Burden
EXT. ALLEY - CONTINUOUS
Gianni approaches the man quietly. Professional, efficient.
The TARGET turns and sees Gianni.
TARGET
Hey, you got a light?
Gianni reaches in his pocket. The TARGET recognizes something
in his movement, in his eyes. He starts to run.
Gianni moves with unexpected speed, catches him. A struggle
follows, then MUFFLED SHOTS.
Gianni walks back to the car, straightening his tie. No blood
on him.
INT. CAR - CONTINUOUS
He slides into the backseat.
ANGELO
Clean?
GIANNI
Clean enough. Drive.
As they pull away, Gianni stares out the window, his face
reflected in the glass — composed, controlled, but something
human still flickers in his eyes. The cost of his rise
visible only to himself.
ANGELO
Cenzo wants to see you after. Says
he has a special job. Something
only you can handle.
Gianni nods, still looking out the window.
GIANNI
(quietly)
There's always another job.
INT. CENZO'S STUDY - LATE NIGHT
Cenzo sits behind an antique desk, reading glasses perched on
his nose. A wood-paneled room filled with leather-bound books
surround him, and the smell of cigars permeates the air. He
looks up as Gianni enters.
CENZO
Drink?
GIANNI
Not tonight.
Cenzo studies him, sets his glasses aside.
CENZO
Clean?
GIANNI
Yes.
CENZO
Sit.
Gianni sits across from him. Cenzo pushes a folder across the
desk. Gianni doesn't open it.
CENZO (CONT’D)
You remember Frankie Naps?
GIANNI
Of course.
CENZO
He's back from Sicily. After three
years, I thought it was safe.
Gianni waits for more. Cenzo sips his scotch.
CENZO (CONT’D)
(continuing)
But he's not the same. Sicily
changed him. Or maybe it just
brought out what was always there.
GIANNI
What's he done?
CENZO
Talking too much, and to the wrong
people. He mentioned the boy at a
bar one night.
(beat)
And he talked about you.
Gianni's expression doesn't change, but his eyes sharpen.
CENZO (CONT’D)
He blames you for his exile. Says
if you hadn't interfered, the kid
wouldn't have been hit. That it
would have been a clean job, in and
out.
GIANNI
And you want me to talk to him?
A hint of irony in his voice. Cenzo almost smiles.
CENZO
No. I want you to solve the
problem. Permanently.
Gianni finally opens the folder. Photos of Frankie,
addresses, routines.
GIANNI
He was your father's man. He's been
loyal for thirty years.
CENZO
Things change.
Gianni closes the folder.
GIANNI
Why me?
CENZO
Because it needs to be someone he
won't suspect. And someone he
underestimates.
GIANNI
He trained me.
CENZO
And now you've surpassed him.
That's how it works.
Gianni takes the folder.
CENZO (CONT’D)
There's something else.
He pulls out another folder, this one thinner.
CENZO (CONT’D)
Frankie's not alone in his
resentment. It seems he and Luca
have become friends.
Gianni opens the second folder. Photos of Luca and Frankie
meeting secretly.
GIANNI
Both of them?
CENZO
Your call on Luca. But Frankie has
to go.
Gianni absorbs this. A test, perhaps the ultimate one.
GIANNI
When?
CENZO
Soon. Before he does something
stupid.
(beat)
I'm told he still goes to
confession every Sunday at St.
Anthony's. Old habits.
GIANNI
Poetic.
CENZO
I thought so.
Gianni turns to leave.
CENZO (CONT’D)
Gianni.
He stops.
CENZO (CONT’D)
This isn't just business. This is
family. It keeps me up at night
thinking of what Frankie might do.
For the first time, Cenzo looks genuinely worried. Gianni
nods, understanding the gravity.
GIANNI
I'll handle it.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
20 -
Confession of Betrayal
EXT. ST. ANTHONY'S CHURCH - SUNDAY MORNING
A small, old church. People enter for morning mass. Gianni
waits across the street, watching. He looks different — plain
clothes, a cap pulled low.
Frankie Naps arrives, older now, walking with a cane, but
still immaculately dressed. He pauses at the church steps,
and crosses himself.
Gianni watches, his face betraying nothing.
INT. CHURCH - LATER
When the service ends, parishioners file out. Frankie
remains, waiting his turn for confession. Gianni enters, sits
in a pew far behind him, his head bowed.
Eventually, Frankie enters the confessional. Gianni waits,
counting the seconds.
INT. CONFESSION BOOTH - CONTINUOUS
Frankie sits in darkness. The screen slides open.
FRANKIE
Forgive me Father, for I have
sinned. It's been one week since my
last confession.
Silence from the other side.
GIANNI (O.S.)
Hello, Frankie.
Frankie freezes. Recognition in his eyes.
FRANKIE
(whispers)
Jesus Christ.
GIANNI (O.S.)
Not quite.
FRANKIE
You've got nerve, coming here.
GIANNI (O.S.)
Cenzo knows, Frankie. About you
talking and about Luca.
A long pause.
FRANKIE
So he sent you. His new favorite.
(bitter laugh)
The kid who ruined my life gets to
end it. That's rich.
GIANNI (O.S.)
You pulled the trigger that night,
not me.
FRANKIE
I lived with that for three years
in Sicily. You have any idea what
that does to a man?
GIANNI (O.S.)
I'm about to find out.
Frankie's reaches inside his jacket.
FRANKIE
You always did think too much, kid.
Should've checked if I was armed.
GIANNI (O.S.)
I did.
The screen slides completely open. Gianni sits on the
priest's side, gun already pointed through the opening.
Frankie's fingers freeze on his own weapon.
GIANNI (CONT’D)
The difference between us is I
still remember the cost.
PFFT! A single muffled shot.
Frankie slumps against the booth wall. Blood on the wooden
grate between them.
Gianni remains seated, watching Frankie's life fade. His face
shows nothing, but his hand trembles slightly as he lowers
the gun.
EXT. CHURCH - LATER
Gianni exits calmly, straightening his coat. No one notices
him. At the bottom of the steps, Luca stands waiting,
smoking. Their eyes meet.
Luca pales, seeing something in Gianni's face. He drops his
cigarette, backs away, then turns and hurries off.
Gianni watches him go, makes no move to follow. Instead, he
pulls out his phone and dials.
GIANNI
(into phone)
It's done.
He watches Luca disappear around a corner, then he hangs up,
puts on sunglasses, and walks away from the church. The bells
toll behind him.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
21 -
Terms of Engagement
INT. CENZO’S STUDY - NIGHT
Cenzo opens an old bottle of brandy, pours a glass, and
offers some to Gianni.
Gianni shakes his head.
GIANNI
I’m here on business.
CENZO
Then, by all means, let’s get on
with it.
GIANNI
If you want me to continue with
this, I have rules.
CENZO
Rules are luxuries.
GIANNI
You said your father had rules.
Mine aren’t so different.
Cenzo takes a sip of brandy.
CENZO
Go on.
GIANNI
No children. No women. Nobody if
children are present.
CENZO
That’s a lot of rules.
GIANNI
I’m not done.
(a beat)
No innocents, meaning no witnesses,
no innocent cops, no judges.
CENZO
And if those people are corrupt?
GIANNI
Then all bets are off. But you’ll
have to show me they’re corrupt.
Cenzo sips his brandy again.
CENZO
As I said, that’s a lot of rules.
But I’ll accept them.
(a beat)
But we have rules too. No killing
family. No killing made men without
approval. No consorting with any
made man’s wife.
Gianni nods.
GIANNI
I know the rules and I can live
with them.
Cenzo clinks glasses with Gianni.
CENZO
Then I believe we have an
agreement.
GIANNI (V.O.)
I got married to Clorinda the next
month. We went to Italy on our
honeymoon, something that Cenzo
insisted on.
(a beat)
(MORE)
GIANNI (V.O.) (CONT'D)
He said if I was to understand the
business — first, I had to
understand Italy. So, Italy is
where we went. We stayed two
months, visiting Rome, Naples, the
Amalfi Coast, and, of course,
Palermo.
(a beat)
After we returned, it wasn’t long
before Clorinda cooked a special
dinner and announced she was
pregnant. Not long after that, we
welcomed my principessa, Sofia.
Soon after, we were graced with
Marco. We were going to name him
Cenzo, after his grandfather, but
he wouldn’t hear of it.
(a beat)
As the kids grew older, Clorinda
took them to visit Cenzo more and
more. And he loved it. When they
visited, he dropped whatever he was
doing to spend time with them. And
the kids loved it as much as he
did. They called him Nonno pazzo
(crazy grandfather).
(a beat)
Things changed for me too. I now
made so much money that I didn’t
have to do any jobs, but some jobs
I liked doing. If a job was to get
rid of someone who needed to be
eliminated, like anybody harming
kids, or wife-beaters, or rapists,
then I insisted on doing the job
myself.
(a beat)
The only other time I did a job was
when an assignment came up that
only I could handle. This happened
not long after Marco turned three.
Genres:
["Crime","Drama"]
Ratings
Scene
22 -
The Hit Plan
INT. CENZO'S PRIVATE DINING ROOM - NIGHT
A small, wood-paneled room above Cenzo's restaurant. Gianni
sits at one end of the table, Cenzo at the other. Between
them are plates of half-eaten pasta. Cenzo nods to the
WAITER, who pours wine and departs.
CENZO
Five years with us now. How does it
feel?
GIANNI
Like time moves differently in this
life.
Cenzo smiles faintly.
CENZO
You've done well. Even better than
I expected.
He slides the folder across the table. Gianni opens it to see
photos of a heavy-set man in expensive suits.
GIANNI
Calabrese from the Chicago outfit?
CENZO
He was until five years ago. Now
he's in our territory, and he’s
taking over protection in Queens.
He offers better rates and makes us
look bad.
Gianni flips through surveillance photos, dossiers.
GIANNI
These are detailed.
CENZO
We’ve been watching for six months
and waiting for the right moment.
That moment is now.
The door opens. Luca enters, older but still with that
smirking arrogance. More polished now, but the eyes are the
same. He nods to Cenzo, barely glances at Gianni.
CENZO (CONT’D)
Luca has been keeping tabs on
Calabrese.
Luca sits and pours himself wine without asking.
LUCA
He's got a routine tighter than the
Pope's.
(MORE)
LUCA (CONT’D)
He travels with four guards
minimum, and he takes different
routes every time, and uses
different cars.
(looks at Gianni)
He's untouchable.
GIANNI
No one's untouchable.
LUCA
(smirks)
This one might be. Frankie couldn't
have done it.
(pointed)
And Frankie was the best.
Tension fills the room. Cenzo watches them both, assessing.
CENZO
Calabrese has one weakness. He
plays golf every Friday at the same
course — Ridgewood Country Club.
LUCA
It’s a private club. Members only.
Heavy security. The place is wired
better than Fort Knox.
GIANNI
He never misses a game?
LUCA
Rain or shine. It's almost
religious for him.
GIANNI
Who’s he play with?
CENZO
Different partners. Sometimes
business, sometimes pleasure. But
he's always there by two o'clock.
Gianni studies the photos, eyes moving from one to another.
LUCA
(to Cenzo)
This is suicide. Let me bring in a
team. We can hit him on the road,
between -
CENZO
(cutting him off)
No. It has to be clean. One
shooter, no witnesses. No trace
back to us.
Luca sits back, his eyes on Gianni.
LUCA
You're asking the impossible.
GIANNI
(to Cenzo, ignoring Luca)
When?
CENZO
Two weeks from Friday. He's meeting
with the Gambetti underboss. If
both vanish, it will look like an
internal beef between them.
GIANNI
I'll need resources.
CENZO
Whatever you need, Luca will
provide.
Luca's face tightens. He forces a smile that doesn't reach
his eyes.
LUCA
Sure thing, boss.
CENZO
(standing)
Do this right, Gianni, and there's
a seat at the table for you.
Permanently.
LUCA
You’ll get it all, Gianni. Don’t
worry about that.
GIANNI
I always worry.
MONTAGE: THE IMPOSSIBLE HIT
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
23 -
Meticulous Preparations
INT. GIANNI'S APARTMENT - NIGHT
Gianni's walls are covered with photos, maps, and schedules.
He stands before them, studying every detail. Papers are
arranged with obsessive precision.
INSERT: A photo of the country club entrance, the valet stand
circled in red.
EXT. RIDGEWOOD COUNTRY CLUB - DAY
Gianni, dressed as a delivery driver, observes the club from
across the street. He watches valets park cars, noting their
routines and especially, their uniforms.
INT. GIANNI'S BATHROOM - NIGHT
Gianni tries on a valet uniform, adjusting the fit. He
practices a friendly, forgettable smile in the mirror. Not
too servile, not too confident.
INT. AUTO SHOP - DAY
Gianni examines a drill bit with an auto mechanic. The
mechanic demonstrates the size hole it will make through
metal and upholstery.
EXT. PARKING LOT - NIGHT
Gianni practices entering the trunk of a luxury sedan
rapidly, silently. Over and over, timing himself.
INT. GIANNI'S APARTMENT - NIGHT
Gianni field strips a pistol with a silencer, then
reassembles it blindfolded. His movements are economical,
practiced.
EXT. FIRING RANGE - DAY
Gianni shoots through a small metal tube at a target,
simulating the backseat hole. Every shot precisely placed.
END OF MONTAGE
INT. HIDDEN GARAGE - NIGHT
Gianni examines a nondescript sedan with DOMINIC. They check
the plates, the engine.
DOMINIC
Clean?
GIANNI
Completely. Stolen from Jersey,
wiped down, new plates. It'll be at
the drop point.
DOMINIC
You sure about this? A lot of
moving parts.
GIANNI
We rehearse it until there aren't.
INT. GIANNI'S APARTMENT - NIGHT
Gianni studies a map of Calabrese's most likely route home
from the club. He marks a specific intersection in red.
EXT. THE INTERSECTION - DAY
Gianni sits in a parked car, watching traffic patterns. He
times the lights, counts seconds between changes. Makes
notes.
Genres:
["Crime","Thriller"]
Ratings
Scene
24 -
Interrogation and Transformation
INT. BASEMENT ROOM - NIGHT
Gianni sits across from a YOUNG MAN in handcuffs. Luca stands
in the corner, watching.
GIANNI
Your name is Michael Santino?
The young man nods, terrified.
GIANNI (CONT’D)
You work valets at Ridgewood
Country Club?
MICHAEL
Yes. Please, I have a family -
GIANNI
(interrupting)
You're not in trouble, Michael. I
just need information.
Gianni opens a notebook.
GIANNI (CONT’D)
Tell me about your supervisor, and
about the rotation schedule. And
who handles VIP members?
As Michael talks, Gianni takes meticulous notes. Luca watches
from the shadows, his expression unreadable.
EXT. RIDGEWOOD COUNTRY CLUB - DAY
A perfect afternoon for golf. Members arrive in luxury cars.
At the valet stand, Gianni wears the red vest uniform, cap
pulled low. He's unremarkable, just another attendant.
A black Mercedes approaches. Vito CALABRESE (60s, heavy-set,
imposing) emerges with his BODYGUARD. Two more security men
exit a follow car.
GIANNI
(professional,
deferential)
Good afternoon, Mr. Calabrese.
Calabrese barely glances at him, simply hands over his keys.
The bodyguard gives Gianni a cursory look, then follows his
boss.
CALABRESE
(to bodyguard)
Wait here. Watch the entrance.
Gianni takes the keys, smiles at the bodyguard, drives the
Mercedes to the parking area.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
25 -
The Silent Shot
EXT. PARKING AREA - CONTINUOUS
Out of sight from the entrance, Gianni parks the car in a
specific spot. He quickly pops the trunk, slips inside, and
pulls it closed.
INT. MERCEDES TRUNK - MOMENTS LATER
Darkness. Gianni removes a small drill and a silenced pistol
from his pocket. Working by touch, he drills a small hole
through the back seat, right at kidney level for the driver's
side rear passenger.
EXT. RIDGEWOOD COUNTRY CLUB - LATER
Afternoon shadows lengthen. Calabrese emerges with another
MAN in an expensive suit. They shake hands and part ways.
The bodyguard retrieves Calabrese. Gianni is nowhere to be
seen – a different valet brings the car around.
Calabrese gets in the back seat, behind the driver. The
bodyguard sits beside him. The driver pulls away.
INT. MERCEDES TRUNK - CONTINUOUS
Gianni lies still, sweating but breathing controlled. Through
the drilled hole, a thin shaft of light allows him to see. He
readies the pistol.
EXT. INTERSECTION - MOMENTS LATER
The Mercedes stops at a red light. Traffic surrounds them.
INT. MERCEDES - CONTINUOUS
Calabrese checks his phone. The bodyguard scans the street
through the window.
CALABRESE
(to driver)
Take Ocean Parkway. I want to avoid
the expressway traffic.
INT. MERCEDES TRUNK - CONTINUOUS
Gianni positions the gun barrel at the drilled hole. He
squints through it. He can just make out Calabrese's back
through the opening.
EXT. INTERSECTION - CONTINUOUS
The light turns green. The Mercedes begins to move.
INT. MERCEDES TRUNK - CONTINUOUS
Gianni fires twice in rapid succession. Muffled THUDS from
the silencer.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
26 -
The Rise of Gianni
INT. MERCEDES - CONTINUOUS
Calabrese slumps forward, blood blooming on his chest. The
bodyguard reaches for his weapon.
Gianni fires again through the hole. The bodyguard falls
back, hit in the side.
DRIVER
(panicked)
Oh god, oh god!
The car swerves, then straightens. The driver, panicking,
keeps driving.
EXT. QUIET SIDE STREET - MOMENTS LATER
The Mercedes pulls over. The driver exits, runs to the rear
door and opens it. Calabrese is clearly dead. The bodyguard
moans softly.
The driver turns to run – and the trunk pops open. Gianni
emerges, pistol raised.
DRIVER
Please, I didn't see anything.
GIANNI
You saw too much.
A single SHOT. The driver falls.
Gianni moves quickly to the bodyguard and fires once more.
EXT. STREET CORNER - CONTINUOUS
A nondescript sedan idles. Dominic behind the wheel.
Gianni approaches calmly and slides into the passenger seat.
They drive away unhurriedly.
ANGELO
Clean?
GIANNI
(removing his valet cap)
Clean.
INT. CENZO'S OFFICE - NIGHT
A television plays the evening news. Coverage of Calabrese's
murder.
NEWSCASTER (V.O.)
... Police are calling it a
professional hit. No witnesses have
come forward ...
Cenzo mutes the TV and looks at Gianni with undisguised
admiration.
CENZO
Three bodies. No witnesses. No
evidence.
GIANNI
The driver saw my face.
CENZO
It was a necessary risk, but well
managed.
Luca stands by the window, nursing a scotch.
LUCA
(grudgingly)
Smart. The trunk approach. Never
been done before.
CENZO
That's why it worked.
Cenzo opens a drawer, pulls out an envelope and slides it to
Gianni.
CENZO (CONT’D)
Your bonus. Well earned.
Gianni takes it without looking inside.
CENZO (CONT’D)
(to Luca)
Leave us.
Luca exits, not hiding his resentment.
When they're alone, Cenzo stands and walks to a cabinet. He
takes out an old bottle of Scotch and two glasses.
CENZO (CONT’D)
My father saved this for special
occasions.
He pours them each a measure.
CENZO (CONT’D)
He would have liked you. I believe
he would have said the same thing I
did when I first saw you – this one
thinks.
Gianni takes the offered glass.
CENZO (CONT’D)
Tomorrow, I'm having a meeting with
all the capos. I want you there.
GIANNI
As security?
CENZO
(smiles)
As my consigliere.
Gianni betrays surprise for a split second.
CENZO (CONT’D)
You've earned it. Not just with
Calabrese. With everything.
GIANNI
Luca won't be happy.
CENZO
Luca isn't family. Not really. He's
useful, but ...
(sips his scotch)
He lacks vision.
GIANNI
And I have vision?
CENZO
You see the whole board. That's
rare.
They drink in silence for a moment.
CENZO (CONT’D)
This promotion comes with
responsibilities. Hard choices.
GIANNI
I'm familiar with hard choices.
CENZO
I know. That's why it's you.
Cenzo stands, walks to the window.
CENZO (CONT’D)
Tomorrow, things change. For all of
us.
Gianni's expression remains composed, but we see a flicker of
something in his eyes. Pride? Concern? Ambition? Perhaps all
three.
GIANNI
I'll be ready.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
27 -
Tensions at the Dinner Table
EXT. CITY STREET - NIGHT
Gianni walks alone, collar turned up against the cold. He
passes a newspaper stand with Calabrese's murder on the front
page.
He doesn't break stride, doesn't look back. His face betrays
nothing. But for a moment, his hand trembles slightly before
he shoves it into his pocket.
He continues walking into the darkness, his path now
irrevocably set.
INT. CENZO'S HOME - NIGHT
Maria, now in her early 60s but still striking, oversees
STAFF arranging a dining table.
CLORINDA (late 20s) enters, beautiful in a simple black
dress. No longer the aggressive young woman from the dance,
now more refined but still with the same edge. She inspects
the table and adjusts a flower arrangement.
MARIA
(to Clorinda)
You didn't have to come home for
this.
CLORINDA
(smiles)
A family celebration? Of course I
did.
Maria gives her a knowing look.
MARIA
It's good to see you taking an
interest in the family business.
CLORINDA
Only certain parts of it.
The doorbell RINGS. Clorinda smooths her dress and touches
her hair unconsciously.
INT. CENZO'S FOYER - CONTINUOUS
A MAID opens the door. Gianni stands in the doorway, elegant
in a tailored suit. He holds a bottle of wine.
MAID
Mr. Rossi, please come in.
Gianni enters, glances around the familiar surroundings.
Clorinda appears from the dining room.
CLORINDA
Consigliere Rossi. Congratulations.
There's a hint of playfulness in her formality. Gianni's
professional mask softens slightly.
GIANNI
Thank you. It was your father's
decision to have me here.
CLORINDA
(taking his arm)
My father doesn't make bad
decisions.
She leads him toward the dining room. There's history between
them, unspoken tension.
INT. CENZO'S DINING ROOM - MOMENTS LATER
A celebratory dinner is underway. Cenzo at the head of the
table, Maria at the foot. Gianni and Clorinda on one side.
TWO CAPOS and their WIVES on the other. Wine flows freely.
CENZO
(raising his glass)
To Gianni. My right hand.
Everyone drinks. A CAPO'S WIFE leans toward Clorinda.
CAPO'S WIFE
(whispers)
When will you find a husband, dear?
Someone handsome like Mr. Rossi.
Clorinda smiles politely, her eyes flitting to Gianni.
CLORINDA
I'm focused on my law practice
right now.
CAPO'S WIFE
(surprised)
A lawyer? How ... modern.
Maria interjects smoothly.
MARIA
Columbia Law. Top of her class.
Under the table, Clorinda's hand briefly touches Gianni's. He
doesn't react, but doesn't pull away.
CENZO
(to the table)
My daughter defends our legitimate
businesses. Keeps us honest.
Laughter around the table. Gianni observes, saying little.
The perfect consigliere – watching, listening.
Genres:
["Crime","Drama"]
Ratings
Scene
28 -
Tension on the Balcony
INT. CENZO'S STUDY - LATER
Cenzo and the capos smoke cigars, discuss business. Gianni
stands by the window, listening.
CAPO #1
The Calabrese hit has everyone
talking. The Gambettis are
impressed.
CAPO #2
(to Gianni)
They're calling it the Mercedes
trunk job. It’s becoming legendary
already.
CENZO
As it should.
Clorinda appears at the doorway.
CLORINDA
(to Gianni)
May I borrow our new consigliere?
Mother needs help with something.
Cenzo nods permission, and Gianni follows Clorinda out.
INT. CENZO'S HALLWAY - CONTINUOUS
Clorinda leads Gianni past the kitchen, where Maria is
clearly not needing any help. She guides him to a small
balcony.
EXT. CENZO'S BALCONY - CONTINUOUS
The city sprawls below. Clorinda closes the door behind them.
CLORINDA
Congratulations. You've come a long
way.
GIANNI
We both have.
She steps closer.
CLORINDA
Remember that night, after the
dance?
GIANNI
Of course.
CLORINDA
You were so ... principled. I
thought you were playing hard to
get.
GIANNI
I respected your father.
CLORINDA
And now?
GIANNI
Now I'm his consigliere.
She steps closer, challenges him with her eyes.
CLORINDA
And what does that change?
GIANNI
Everything. And nothing.
A charged moment between them. She reaches up, fixes his tie
– an intimate gesture.
CLORINDA
I've watched you become ...
whatever you are now.
GIANNI
And what am I?
CLORINDA
Someone who still remembers the
cost.
Gianni's eyes narrow.
GIANNI
What do you know about that?
CLORINDA
I know more than you think. About
everything.
She leans in, her lips close to his.
CLORINDA (CONT’D)
Including how you look at me when
you think no one's watching.
For once, Gianni seems uncertain. The door opens. Maria
appears.
MARIA
There you are. Dessert is ready.
Clorinda steps back, composed in an instant. Maria's eyes
take in the scene, missing nothing.
MARIA (CONT’D)
(to Gianni)
My daughter always wanted what
wasn't offered to her.
As they walk back inside, Maria touches Gianni's arm.
MARIA (CONT’D)
(quietly)
You don’t need Cenzo’s blessing.
She pauses.
MARIA (CONT’D)
But only if you love her.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
29 -
A Father's Trust
INT. CENZO'S DINING ROOM - LATER
The party winds down and as Gianni prepares to leave, he
shakes hands with the capos.
CENZO
(to Gianni)
Walk with me.
EXT. CENZO'S GARDEN - MOMENTS LATER
They stroll through a manicured garden with stone benches.
Cenzo and Gianni walk slowly.
CENZO
You did well tonight. The capos
respect you.
GIANNI
I appreciate the opportunity.
CENZO
It's more than opportunity. It's
family.
(beat)
Which brings me to a delicate
matter.
Gianni waits, sensing what's coming.
CENZO (CONT’D)
I've seen how my daughter looks at
you. And you at her.
GIANNI
Cenzo -
CENZO
(raising a hand)
Let me finish. Years ago, I would
have forbidden it. A man in your
position with my daughter? Too
complicated.
Cenzo stops walking, faces Gianni directly.
CENZO (CONT’D)
But I'm getting older. I see things
differently now.
(beat)
I want her protected when I'm gone.
By someone who understands our
world but has ... principles.
GIANNI
I'm not sure I have those anymore.
CENZO
(smiling faintly)
You do. It's why I chose you.
He places a heavy hand on Gianni's shoulder.
CENZO (CONT’D)
Think about it. Not as my
consigliere, but as a man. She
could do worse. You both could.
Genres:
["Crime","Drama"]
Ratings
Scene
30 -
A Chance Encounter
EXT. CENZO'S DRIVEWAY - MOMENTS LATER
Gianni's car waits. Clorinda intercepts him before he reaches
it.
CLORINDA
Leaving so soon?
GIANNI
It's late.
CLORINDA
Call me tomorrow. We should talk.
She slips a business card into his pocket. Professional on
the surface, intimate in execution.
CLORINDA (CONT’D)
My private number is on the back.
She walks away without waiting for a response.
INT. GIANNI'S CAR - MOMENTS LATER
Gianni sits in the back seat, lost in thought. The DRIVER
glances in the rearview mirror.
DRIVER
Where to, sir?
GIANNI
Just drive for a while.
The car pulls away from Cenzo's mansion. Gianni pulls out
Clorinda's card, studies it, then puts it away. He looks out
the window at the passing city, a man at a crossroads.
GIANNI (V.O.)
I got married to Clorinda the next
month. We went to Italy on our
honeymoon, something that Cenzo
insisted on. He said if I was going
to understand the business —
first, I had to understand Italy.
So, Italy is where we went. We
stayed two months, visiting Rome,
Naples, the Amalfi Coast, and, of
course, Palermo.
(a beat)
After we returned, it wasn’t long
before Clorinda cooked a special
dinner and announced she was
pregnant. Not long after that, we
welcomed my principessa, Sofia. Two
years after, we were graced with
Marco. We were going to name him
Cenzo, after his grandfather, but
he wouldn’t hear of it.
(a beat)
As the kids grew older, Clorinda
took them to visit Cenzo more and
more. And he loved it. When they
visited, he dropped whatever he was
doing to spend time with them. And
the kids loved it as much as he
did. They called him Nonno pazzo
(crazy grandfather).
Things changed for me too. I now
made so much money that I didn’t
have to do any jobs, but some jobs
I liked doing. If a job was to get
rid of someone who needed to be
eliminated, like anybody harming
kids, or wife-beaters, or rapists,
then I insisted on doing the job
myself. The only other time I did a
job was when an assignment came up
that only I could handle. This
happened not long after Marco’s
third birthday.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
31 -
The Unmasking of Maxwell Harrington
INT. CENZO'S OFFICE - DAY
Cenzo slides photos across his desk to Gianni. Images of a
MAXWELL HARRINGTON (60s) in expensive suits with bodyguards.
CENZO
Maxwell Harrington. He’s in real
estate, shipping, philanthropy.
GIANNI
And protection everywhere he goes.
CENZO
Four guards minimum. Former
military. The client says he's
untouchable.
Gianni examines the photos, his expression neutral.
CENZO (CONT’D)
But there's more.
Cenzo slides a thumb drive across the desk.
CENZO (CONT’D)
This contains evidence of
Harrington's side business. Child
trafficking. He uses his shipping
containers.
Gianni's eyes harden slightly – the only reaction.
GIANNI
You've confirmed this?
CENZO
Personally. This isn't just
business. It's ... necessary.
Gianni pockets the drive.
GIANNI
When?
CENZO
He's attending the Metropolitan
Children's Charity Gala in three
days. Very public. Very secure.
GIANNI
Good.
Cenzo raises an eyebrow.
GIANNI (CONT’D)
He should die surrounded by the
children he pretends to help.
MONTAGE: CHILD TRAFFICKER
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
32 -
A Toast to Deception
INT. GIANNI'S APARTMENT - NIGHT
Gianni studies blueprints of the Metropolitan Museum. The
security points are marked in red. And the computer screen
shows event staff listings. He circles CATERING SERVICE.
A CHEMIST demonstrates a clear liquid in a tiny vial.
CHEMIST
Undetectable. It mimics cardiac
arrest. Ten minutes to take effect.
Gianni tests a specialized watch with a hidden compartment
for the vial.
INT. GIANNI'S APARTMENT - NIGHT
Gianni practices fluid motions: bumping into someone,
transferring liquid to a glass – he rehearses hundreds of
times until it’s flawless.
INT. TAILORING SHOP - DAY
Gianni is fitted for server attire. It’s adjusted to ensure
perfect movement and concealment.
INT. SERVICE CORRIDOR (PRACTICE RUN) - NIGHT
Gianni times his movements through a replica layout,
memorizing exact distances and turns.
EXT. METROPOLITAN MUSEUM - NIGHT
A glamorous charity gala. Celebrities, politicians arriving.
Heavy security presence.
EXT. SERVICE ENTRANCE - CONTINUOUS
A catering truck arrives. Gianni emerges with staff, uniform
perfect, ID badge in place.
INT. MUSEUM SERVICE CORRIDOR - CONTINUOUS
Gianni navigates confidently, his face angled away from
cameras.
INT. MAIN GALLERY - MOMENTS LATER
Harrington holds court, bodyguards scanning the room. A large
"CHILDREN FIRST" banner hangs above.
Gianni serves champagne nearby, watching — and waiting.
A FEMALE SERVER drops a tray. CRASH! Attention shifts.
Bodyguards momentarily distracted.
Gianni moves smoothly, approaching Harrington with champagne.
GIANNI
Fresh glass, sir?
Harrington barely glances at him, and takes the glass.
Gianni's finger brushes the rim, depositing liquid from his
watch mechanism.
HARRINGTON
(to associates)
As I was saying, our foundation's
work in Southeast Asia ...
Gianni slips away. No one notices the brief exchange.
Genres:
["Crime","Thriller"]
Ratings
Scene
33 -
A Shift in Shadows
INT. SERVICE CORRIDOR - CONTINUOUS
Gianni moves unhurriedly toward the exit, discarding his
server jacket, revealing civilian clothes beneath.
EXT. METROPOLITAN MUSEUM - MOMENTS LATER
Gianni exits through staff area, walks calmly away. In the
distance, SIRENS begin to wail.
INT. CENZO'S STUDY - NIGHT
Television plays news coverage. Harrington's photo with
"TRAGIC DEATH" caption.
NEWSCASTER (V.O.)
... died of an apparent heart
attack at the Children's Charity
Gala.
(MORE)
NEWSCASTER (V.O.) (CONT'D)
Doctors say his medical history
showed no previous cardiac issues
...
Cenzo mutes the TV, and turns to Gianni.
CENZO
Clean. Perfect. No one suspects.
GIANNI
But everyone knows.
Cenzo nods and pours two drinks.
CENZO
Three capos called already. Word
travels.
INT. UPSCALE BAR - NIGHT
Gianni sits alone. At another table, several MAFIA SOLDIERS
glance his way with newfound respect.
A CAPO approaches, shakes Gianni's hand with deference.
CAPO
(quietly)
That children's charity work? Much
appreciated.
He slips away. The message is clear – Gianni's reputation has
reached new heights.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
34 -
The Phantom's Vigil
INT. CENZO'S OFFICE - NEXT DAY
Cenzo stands at the window, Gianni beside him.
CENZO
You know what they're calling you
now? "The Phantom." No evidence, no
witnesses, no trace.
GIANNI
Just doing the job.
CENZO
No. Creating art.
(beat)
I'm bringing you in on the Chicago
expansion. The family's future.
Gianni absorbs this elevation in trust. Cenzo puts a hand on
his shoulder.
CENZO (CONT’D)
What you did to Harrington ... some
jobs are more than business. Some
are justice.
For once, Gianni allows a faint smile. Even in this dark
world, there are lines that matter.
A knock at the door. Clorinda enters with legal documents.
She catches Gianni's eye.
CLORINDA
The real estate papers, Father.
(to Gianni)
Consigliere.
The address carries something more private now. Gianni nods
in acknowledgment. The chess pieces of his life —
professional success, family connection, personal
entanglements — all advancing together.
EXT. SCHOOL - DIFFERENT DAY
Gianni, better concealed as a normal parent, photographs the
man approaching CHILDREN with candy.
EXT. STREET CORNER - DAY
Gianni follows the man to a club and takes photos of him
exchanging packages with TEENAGERS.
INT. GIANNI'S APARTMENT - NIGHT
Photos spread across his table. The man's face now enlarged,
is run through facial recognition software.
INSERT: Computer screen shows "ROCCO MORETTI" with basic
info.
Gianni makes a call.
GIANNI
(into phone)
I need everything on Rocco Moretti
— everything.
INT. RESTAURANT BACK ROOM - NIGHT
Gianni meets with an INFORMANT, who slides a file across the
table.
INFORMANT
Nephew of Carlo Gambetti. Made man
last year.
Gianni opens the file: photos of Moretti with UNDERAGE GIRLS,
screenshots of illegal content, police reports.
INFORMANT (CONT’D)
(continuing)
He distributes materials through
contacts at the school area. And
he’s protected by his uncle.
Gianni's expression hardens. He closes the file.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
35 -
Moral Dilemma in the Shadows
INT. BAR - NIGHT
Gianni and Luca sit in a private booth. The bar is dimly lit,
and the music is loud.
LUCA
Why come to me with this?
GIANNI
You know the old rules better than
I do.
Luca smirks, enjoying being needed.
LUCA
Moretti is connected to the
Gambettis.
(sips his drink)
You can't touch him.
GIANNI
He's distributing child pornography
— outside a school.
LUCA
(shrugs)
That’s not our problem. And it’s
not our territory.
Gianni's jaw tightens.
LUCA (CONT’D)
(continuing)
Two cardinal rules: You never hit a
made man without commission
approval. And you never — never —
touch a family member without
permission.
GIANNI
Even someone like that?
LUCA
(leans forward)
Listen carefully. If you go after
Moretti, they'll come for you. Not
just you — everyone you care about.
Cenzo. Maria. Clorinda.
Gianni's expression doesn't change, but something cold
flickers in his eyes.
LUCA (CONT’D)
The Gambettis don't care if he's
Satan himself. He's blood. That's
all that matters.
Luca drains his glass, then signals for another.
LUCA (CONT’D)
So whatever you're thinking, forget
it. This isn't Calabrese or
Harrington. This is suicide.
Gianni nods, seemingly accepting the advice.
GIANNI
Appreciate the clarity.
Luca studies him, not entirely convinced.
LUCA
I'm trying to help you. Don't be
stupid.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
36 -
A Choice of Shadows
INT. GIANNI'S APARTMENT - NIGHT
Gianni stands at his window, city lights below. On his table
sits the Moretti file and photos of the man near children.
His phone RINGS.
GIANNI
(answering)
Yes?
CENZO (V.O.)
(filtered)
Dinner tomorrow. The whole family
will be there to celebrate
Clorinda's birthday.
GIANNI
I'll be there.
He hangs up and returns to the window. Conflicted.
FLASHBACK:
INT. SPORTS BAR - YEARS AGO
Quick flash of Torriano, the boy, collapsing. Blood
spreading.
BACK TO PRESENT:
Gianni closes his eyes briefly. When he opens them, his
decision is made.
He goes to his closet, pushes aside clothes that reveals a
hidden compartment. Inside is a specialized rifle case.
EXT. RESIDENTIAL STREET - DAY
Rocco Moretti exits a brownstone, adjusting his expensive
suit. Two BODYGUARDS flank him.
EXT. ROOFTOP - SAME TIME
Gianni sets up position, assembling a sniper rifle with
practiced efficiency. Six hundred yards away.
MONTAGE: THE MORETTIE HIT
- Moretti gets into a black SUV.
- Gianni calculates wind, distance.
- The SUV begins moving.
- Gianni tracks through scope, breathing controlled.
- A delivery truck suddenly blocks the street, forcing the
SUV to stop.
- Gianni exhales, finger tightening on trigger.
- PFFT! A single shot.
Through the scope: Moretti's head snaps back and the window
shatters.
Chaos erupts. Bodyguards scramble.
Gianni disassembles the rifle with rapid, practiced
movements. He leaves nothing behind.
Genres:
["Crime","Thriller"]
Ratings
Scene
37 -
Tension at the Celebration
EXT. APARTMENT BUILDING REAR - MOMENTS LATER
Gianni exits through service door in workman's clothes,
carrying a toolbox containing the disassembled rifle. He
walks unhurriedly away as sirens approach from the opposite
direction.
INT. CENZO'S DINING ROOM - NIGHT
A birthday celebration. Clorinda at the center, Cenzo and
Maria beside her. Gianni sits across, perfectly composed.
Luca enters, face grim. Whispers to Cenzo, who frowns.
CENZO
(to the table)
Excuse me.
Cenzo and Luca step out. Clorinda raises an eyebrow at
Gianni, who remains impassive.
INT. CENZO'S STUDY - CONTINUOUS
Cenzo turns on the news to see coverage of Moretti's
assassination.
NEWSCASTER (V.O.)
... nephew of reputed crime figure
Carlo Gambetti was killed in what
police are calling a professional
hit ...
CENZO
(to Luca)
The Gambettis?
LUCA
They’re going crazy. Offering five
million bounty for the shooter.
CENZO
Do we know anything?
LUCA
(watching Cenzo
carefully)
Nothing. Professional job. Could be
anyone.
(pause)
Carlo's demanding a sit-down with
all families. He wants blood.
CENZO
Set it up. We show respect.
(beat)
Quietly, put out word: We had
nothing to do with this.
Luca nods, but his eyes drift toward the dining room.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
38 -
Tensions and Toasts
INT. CENZO'S DINING ROOM - LATER
Cenzo returns and resumes his seat. Conversation continues
normally. Under the table, Clorinda's hand finds Gianni's,
squeezes briefly.
CENZO
(raising his glass)
To family. And to those who protect
it.
Gianni raises his glass, meets Cenzo's eyes. A moment of
unspoken understanding passes between them.
Across the table, Luca watches, suspicion growing.
EXT. CEMETERY - DAY
A massive funeral. GAMBETTI FAMILY MEMBERS and associates
from all families gather. Carlo Gambetti (60s, powerful)
stands grimly by the casket.
From a respectful distance, Gianni observes. His face betrays
nothing.
A YOUNG MOTHER passes by with a SMALL BOY. The boy drops his
toy car. Gianni picks it up and returns it with a gentle
smile. The mother thanks him, then moves on.
Gianni watches them go, then turns back to the funeral. No
regret in his eyes.
INT. CENZO'S OFFICE - DAY
Cenzo behind his desk, Gianni standing before him.
CENZO
The Chicago expansion is yours. You
hav full authority.
GIANNI
What about the Gambettis?
CENZO
Unfortunate business with the
nephew. They'll get over it.
(meaningful look)
Some problems solve themselves.
Gianni nods, understanding the subtext. Cenzo knows but won't
acknowledge it.
CENZO (CONT’D)
You leave next week. Take Dominic,
but not Luca.
GIANNI
Luca won't be happy.
CENZO
Luca is becoming a concern. Keep
your distance.
Cenzo stops Gianni as he turns to leave.
CENZO (CONT’D)
One more thing. Some things we do
for business.
(pauses)
Some things we do for justice.
A rare smile from Gianni – confirmation that Cenzo knows
exactly what happened to Moretti.
EXT. STREET - NIGHT
Luca sits in his car, watching Gianni exit Cenzo's building.
His expression darkens with jealousy and suspicion.
He picks up his phone, hesitates, then dials.
LUCA
(into phone)
I might have information about the
Moretti hit. What's it worth to
you?
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
39 -
Vengeance at the Gambetti Social Club
INT. GAMBETTI SOCIAL CLUB - NIGHT
A private room in the back of an upscale Italian restaurant.
DON CARLO GAMBETTI (65, powerful, dignified even in rage)
sits at the head of a table. Six CAPOS and LIEUTENANTS around
him.
GAMBETTI
I want everyone looking. Every
street corner. Every neighborhood.
Someone saw something.
A LIEUTENANT slides photos across the table from the crime
scene. It includes bullet trajectory analysis.
LIEUTENANT
It was a rofessional job. Long-
distance. Maybe hundred yards.
Maybe more.
GAMBETTI
(coldly)
This wasn't random.
CAPO #1
We've got men talking to our police
contacts. Nothing yet.
GAMBETTI
Double whatever they usually get.
An OLDER CAPO shifts uncomfortably.
OLDER CAPO
Don Carlo, with respect ... Rocco
's activities with the children ...
Gambetti slams his fist on the table, silencing the room.
GAMBETTI
He was my sister's son. My blood.
Nothing else matters.
He stands, straightening his suit jacket.
GAMBETTI (CONT’D)
Two hundred and fifty thousand for
a name. Half a million for the
shooter.
(beat)
Alive. I want him alive.
Genres:
["Crime","Drama"]
Ratings
Scene
40 -
A Dangerous Proposition
EXT. GAMBETTI RESTAURANT - EVENING
Upscale Italian restaurant in Little Italy. Luca approaches
alone, better dressed than we've seen him before. Nervous but
determined.
Two BODYGUARDS at the entrance tense as he approaches.
BODYGUARD #1
This is a private establishment.
LUCA
I'm here to see Don Gambetti. It’s
about his nephew.
The bodyguards exchange looks, then pat him down thoroughly,
removing his gun.
INT. GAMBETTI RESTAURANT - CONTINUOUS
Luca is escorted through the dining room where patrons enjoy
meals, unaware of the tension. At the back, a door leads to a
private room.
INT. PRIVATE DINING ROOM - CONTINUOUS
Don Gambetti dines alone. He looks up as Luca enters, and
studies him with cold calculation.
GAMBETTI
You're Cenzo's man.
LUCA
I was.
Gambetti gestures to a chair. Luca sits, visibly
uncomfortable.
GAMBETTI
Why are you here?
LUCA
I have information about Rocco’s
killer.
Gambetti's expression doesn't change, but his attention
sharpens.
GAMBETTI
Everyone in the city claims to know
something. Most want money.
LUCA
I don't want just money. I want
justice.
GAMBETTI
(skeptical)
Justice?
LUCA
I've been overlooked, disrespected.
While he gets everything.
GAMBETTI
He?
Luca leans forward.
LUCA
They call him "The Phantom." He’s
Cenzo's golden boy — his
consigliere.
Gambetti studies Luca, weighing his words.
GAMBETTI
You're claiming Gianni Rossi killed
my nephew?
LUCA
I know he did.
GAMBETTI
(incredulous)
Why would Cenzo sanction a hit on
my family?
LUCA
He didn't. Gianni acted alone.
(leaning forward)
Rocco’s ... preferences.
(MORE)
LUCA (CONT’D)
The children. Gianni has a thing
about that.
Gambetti's eyes narrow.
GAMBETTI
You have proof of this?
LUCA
I saw him preparing. I know his
methods.
Gambetti stands, walks to a window.
GAMBETTI
You understand what you're doing?
Coming to me like this?
LUCA
I understand loyalty. And its
limits.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
41 -
A Dark Pact
INT. PRIVATE DINING ROOM - CONTINUOUS
Gambetti pours two glasses of whiskey. He slides one to Luca.
GAMBETTI
Why should I believe you?
LUCA
Because I've worked with him for
years. Because I know how he
thinks.
(sips whiskey)
Ask around about the Calabrese hit.
The trunk method. That was him.
Harrington at the charity gala —
him again.
Gambetti's interest visibly grows.
LUCA (CONT’D)
But more importantly, I'm the only
one who can get close to him.
GAMBETTI
Cenzo would never believe this
betrayal.
LUCA
(smiling thinly)
Cenzo doesn't need to know. Not
until it's done.
Gambetti sits back, studying Luca.
GAMBETTI
Two-fifty for the name. You've
given that.
LUCA
And the rest?
GAMBETTI
One million. If you deliver him
alive.
LUCA
(shaking head)
Not alive — he's too good. It has
to be a kill.
Gambetti considers this.
GAMBETTI
I want to look him in the eyes.
LUCA
You can look at his corpse. Or risk
losing him entirely.
A tense moment. Finally, Gambetti nods.
GAMBETTI
One condition. I want proof it's
him. Before I pay.
LUCA
Fair enough.
They clink glasses, a dark pact sealed.
LUCA (CONT’D)
I'll need resources. Men you trust.
Ones who will follow orders without
questions.
GAMBETTI
When?
LUCA
Soon. I'll let you know.
As Luca stands to leave:
GAMBETTI
If you're playing me ...
LUCA
(coldly)
I'm not. He took everything from
me. Now I’m going to take
everything from him.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
42 -
Tensions in Transition
INT. CENZO'S OFFICE - DAY
Gianni reviews papers with Cenzo. The Chicago expansion
plans.
CENZO
You leave in three days.
Everything's arranged.
Luca enters, offers an apologetic nod to Cenzo.
LUCA
Sorry to interrupt. There’s a
message from Paulie Cicero.
Cenzo waves him in. Luca hands over an envelope and glances
at Gianni.
LUCA (CONT’D)
Big weekend plans before Chicago?
GIANNI
(guardedly)
Nothing special.
Cenzo opens the envelope, starts reading.
LUCA
(casually)
Heard you got that place upstate.
Nice spot.
GIANNI
(neutral)
It's quiet.
LUCA
Taking Clorinda?
A flicker of surprise in Gianni's eyes.
GIANNI
Her sister's taking the kids for
the weekend.
Luca nods.
LUCA
(smiling)
Nice. Private time before the big
move.
CENZO
(looking up)
Paulie wants to meet tomorrow. Set
it up, Luca.
Luca nods, then exits. Gianni watches him go, thoughtful.
GIANNI
He's been different lately. More
accommodating.
CENZO
(dismissive)
He's accepted his place.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
43 -
The Briefing
INT. WAREHOUSE - NIGHT
Luca briefs FOUR HITMEN. Hard men with cold eyes. He has maps
spread on a table – rural property layouts.
LUCA
Friday night. The target will be
here with a woman.
(points to map)
It’s a two-story house and it’s
isolated. No neighbors close.
HITMAN #1
The woman?
LUCA
Not the target. But she might be
armed. Don't underestimate her.
HITMAN #2
Who's the primary?
LUCA
He’s a high-value target, and he’s
connected. That's all you need to
know.
(beat)
Everyone wears masks. No faces, no
names.
Luca distributes black tactical gear and weapons.
LUCA (CONT’D)
I want clean shots. And remember,
the woman is not the target.
HITMAN #1
What if she’s armed, like you said?
LUCA
Then disarm her, but don’t kill
her.
LUCA (CONT’D)
(continuing)
One million split five ways. Plus
expenses.
The men nod, examining the weapons.
LUCA (CONT’D)
This has to be perfect. He's
dangerous. More than you know.
Genres:
["Crime","Thriller"]
Ratings
Scene
44 -
Shattered Serenity
INT. COUNTRY HOUSE - NIGHT
Gianni stands in the kitchen, a bottle of Clorinda’s favorite
wine bottle in hand. Two glasses are already poured.
CLORINDA enters from another room dressed in casual clothes
her, hair down. She steps behind Gianni and rubs his back.
CLORINDA
You seem tense.
GIANNI
Just thinking about Chicago.
Clorinda takes her glass, sips the wine, and steps closer.
CLORINDA
That’s three days away. Let's not
waste them thinking about business.
She reaches for his phone and turns on music, which plays
soft jazz through carefully placed speakers. She then takes
his hand and leads him to the center of the room. They dance
slowly.
CLORINDA (CONT’D)
(softly)
Remember when you refused to dance
with me? Years ago?
GIANNI
I remember everything about that
night.
Their foreheads touch. A rare moment of genuine intimacy for
Gianni.
CLORINDA
You were so proper. So concerned
about my father.
GIANNI
I still am.
CLORINDA
(smiling)
No. Now you're family.
She kisses him. For once, Gianni’s shoulders drop, relaxing.
A CRASH from the front door. Gianni reacts instantly, pushing
Clorinda behind him. His gun appears in his hand.
FOUR MASKED MEN burst in, automatic weapons raised. A FIFTH
FIGURE (LUCA, though unrecognizable in mask) directs from
behind.
Gianni fires twice, dropping one assailant. Return fire
forces him back.
GIANNI
(to Clorinda)
Upstairs! Now!
Clorinda runs for the stairs but barely gets into the kitchen
when a hitman targets her. Gianni lunges into the line of
fire, but takes bullets to his shoulder and side. He falls to
the floor.
Clorinda reaches a drawer and pulls out her own gun. She
fires back, hitting one of them in the shoulder.
Gianni, wounded but still fighting, shoots another hitman.
Blood pools beneath him.
The MASKED LUCA signals to a hitman, pointing at Gianni. The
hitman advances, firing. Bullets tear into Gianni's chest. He
collapses against the wall, gun falling from his hand.
Clorinda screams and fires wildly. A hitman sprays automatic
fire. She's hit multiple times and crumples to the floor.
MASKED LUCA
(shouting, voice muffled)
Goddamn, I said don’t kill her.
He checks, but Clorinda lies motionless.
The remaining hitmen check their fallen comrades. Two dead.
HITMAN
We need to go.
The masked Luca stares at Clorinda's body, genuine shock in
his posture. This wasn't part of the plan.
They flee, leaving carnage behind.
Gianni lies on the floor, blood spreading beneath him. He
reaches a trembling hand toward Clorinda's still form. Their
fingertips almost touch as his vision darkens.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
45 -
A Father's Vow
INT. HOSPITAL CORRIDOR — NIGHT
Armed GUARDS are stationed outside a private room at the end
of a long corridor. Cenzo paces and bites his nails. Maria
sits nearby, rosary beads wrapped around her fingers,
murmuring prayers.
DOCTOR JOY ADAMS (40s, female, competent, no-nonsense)
emerges from the room, her face grim.
DOCTOR
He's stabilized, but still
critical. With six gunshot wounds
that’s amazing. The next 48 hours
are crucial.
CENZO
And my daughter?
The doctor's expression says everything. Cenzo nods, already
knowing.
CENZO (CONT’D)
When can I see him?
DOCTOR
You can go in briefly, but he may
not be coherent. I have him heavily
sedated.
INT. HOSPITAL ROOM — CONTINUOUS
GIANNI lies surrounded by medical equipment, and he has tubes
sticking out of his stomach and down his nose. He seems to be
covered in bandages, and he’s hooked up to at least three
monitors.
He’s barely recognizable beneath the damage, and each breath
seems to require effort.
Cenzo stands at Gianni’s bedside. His composure cracks
slightly at the sight. He takes Gianni's hand as a tear forms
in his eyes.
CENZO
(quietly)
My boy. They took my baby Clorinda.
Took her from both of us.
Gianni's eyes remain closed, but the monitors show a slight
spike in heart rate.
CENZO (CONT’D)
(leaning closer)
I'll find who did this. I swear on
my daughter's grave. I'll find
them, and they'll beg for death.
He composes himself, then stands.
CENZO (CONT’D)
You heal. I'll handle this.
Cenzo kisses his finger, then taps Gianni’s head. He stares
another moment, then exits. In the corridor, LUCA waits, his
expression appropriately somber.
LUCA
How is he?
CENZO
Alive. For now.
LUCA
And the men I sent to guard the
house?
CENZO
(coldly)
Dead. All of them.
Luca nods, seemingly troubled.
CENZO (CONT’D)
(continuing)
I want every resource we have
looking for whoever did this. Every
contact, every favor owed. Pull the
police files.
LUCA
I'm on it.
CENZO
And find me Carlo Gambetti. I want
to know if this was him.
Luca's face betrays nothing.
LUCA
You think the Gambettis did this?
CENZO
Find out.
Luca watches Cenzo walk away, then glances toward Gianni's
room. He swallows hard, a small sigh escaping his lips, the
corners of his eyes glistening. He stares into Gianni’s room
and makes the sign of the cross, then turns and leaves.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
46 -
Awakening in Fear
INT. HOSPITAL ROOM — THREE DAYS LATER
Gianni's eyes open slowly, and even more slowly, the room
comes into focus. He tries to move and winces in pain. A
NURSE notices and checks his vitals.
NURSE
Don't try to move, Mr. Rossi. I'll
get the doctor.
She exits quickly. Gianni takes stock of his situation. The
guards outside his door. The extent of his injuries.
The door opens. LUCA enters, closes it behind him.
LUCA
You're awake.
Gianni's eyes track him with suspicion, but his voice is too
weak to speak clearly.
LUCA (CONT’D)
(continuing)
Cenzo's been here every day. He
just stepped out for coffee.
Luca approaches the bed cautiously.
GIANNI
(hoarse whisper)
Clorinda?
Luca shakes his head. Gianni closes his eyes briefly,
absorbing the pain.
GIANNI (CONT’D)
Tell Cenzo I'm sorry.
LUCA
Tell him yourself. You're going to
make it.
GIANNI
(with certainty)
No. Whoever did this will finish
the job.
Luca looks away just as the door opens. DOCTOR ADAMS enters.
DOCTOR ADAMS
I need to examine my patient.
Luca nods and moves toward the door.
LUCA
I'll be back.
Something in his tone makes Gianni watch him carefully as he
leaves.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
47 -
A Life Worth Saving
INT. HOSPITAL ROOM — EVENING
Doctor Adams checks Gianni's bandages. He watches her
methodically work.
GIANNI
How bad?
DOCTOR ADAMS
Six entry wounds. Two missed your
heart by centimeters. One collapsed
your lung. You shouldn't be alive.
GIANNI
But I am.
DOCTOR ADAMS
(frankly)
For now.
She finishes changing bandages, then makes notes on his
chart.
DOCTOR ADAMS (CONT’D)
You've had a visitor every hour.
The old man who paces. The woman
with the rosary. And the thin one
with the eyes that don't match his
smile.
Gianni's expression shifts subtly at the last description.
DOCTOR ADAMS (CONT’D)
(continuing)
Plus the guards.
GIANNI
How long have you been my
physician?
DOCTOR ADAMS
Since they brought you in. Five
days ago.
GIANNI
And in those five days, you've
saved my life ... how many times?
She considers this.
DOCTOR ADAMS
Four. Your heart stopped twice
during the first surgery. Then once
in recovery and once yesterday.
GIANNI
Why?
DOCTOR ADAMS
Why what?
GIANNI
Why keep saving me? You know who I
am. What I am.
She puts down his chart and meets his gaze directly.
DOCTOR ADAMS
I don't save people because they
deserve it. I save them because
that's my job.
A moment of mutual respect passes between them.
GIANNI
I need your help.
DOCTOR ADAMS
I'm already helping you.
GIANNI
I need you to help me die.
Her eyes widen.
GIANNI (CONT’D)
(continuing)
Not actually die. Appear to die.
DOCTOR ADAMS
That's insane.
GIANNI
The only reason I'm not dead yet is
because they want me awake when
they finish the job.
DOCTOR ADAMS
Who's "they"?
GIANNI
If I knew for certain, I wouldn't
need to disappear.
She shakes her head, moves toward the door.
GIANNI (CONT’D)
Dr. Adams. I've watched you. You're
not just a doctor. You care.
She pauses.
GIANNI (CONT’D)
(continuing)
There are three children who will
die — or worse — if I don't survive
to protect them. Children who were
hurt by powerful men.
She stops and turns back.
DOCTOR ADAMS
You're asking me to risk my career.
GIANNI
I'm asking you to save lives. Like
you've been doing.
She studies him intently.
DOCTOR ADAMS
How would it work?
GIANNI
You pronounce me dead from
complications. Move me to the
morgue. From there ... I have
resources.
DOCTOR ADAMS
They'll want an autopsy.
GIANNI
That can be arranged with the right
people.
She bites her lip, sets her chart on the foot of the bed, and
takes a seat next to Gianni.
DOCTOR ADAMS
Tell me about these children.
GIANNI
A powerful man was abusing them. He
and others.
Doctor Adams walks to the window and looks out.
DOCTOR ADAMS
My sister was eleven when a
neighbor hurt her. I never
understood why the police did
nothing. Maybe he was “connected.”
She turns back to Gianni.
DOCTOR ADAMS (CONT’D)
She killed herself at sixteen.
Gianni holds her gaze, understanding.
DOCTOR ADAMS (CONT’D)
If I help you, do you swear these
children will be safe?
GIANNI
I've already arranged everything.
Funds, identities, homes far from
here. They just need time. Time I
can only give them by disappearing.
A long moment of decision. Finally, she nods.
DOCTOR ADAMS
Tonight. During shift change. Your
heart will "fail" at 11:07 pm.
GIANNI
Thank you.
DOCTOR ADAMS
Don't thank me. Just keep your
promise.
She moves to the door, pauses.
DOCTOR ADAMS (CONT’D)
What happens to the men who did
this to you? The ones who killed
the woman?
GIANNI
I'll find them.
DOCTOR ADAMS
Good.
As she exits, Gianni looks toward the window. His eyes
narrow, and he clenches his fist.
GIANNI
(to himself)
I will find them.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
48 -
A Bittersweet Reunion
EXT. SUBURBAN HOME — DALLAS, TEXAS — DAY
An American flag hangs from the front porch of a well-kept
house in an upper-middle class neighborhood. A basketball
hoop sits on the side of the driveway,
CENZO's black sedan parks near the garage. He exits, wearing
a polo shirt instead of his usual suit. He looks around
cautiously before approaching the door.
INT. SUBURBAN HOME — CONTINUOUS
MRS. MARTINEZ (50s, kind but vigilant) opens the door for
Cenzo. He steps into a warmly decorated living room. Family
photos hang on the walls, carefully selected to show the new
family narrative.
MRS. MARTINEZ
(quietly)
They're in the backyard. The boy's
been asking about you.
Cenzo nods and follows her through the house.
EXT. BACKYARD — CONTINUOUS
A well-fenced yard with play equipment. LUIS PIRELLI
(formerly Marco, 10) kicks a soccer ball against the fence.
MONICA PIRELLI (formerly Sofia, 12) sits under a tree, small
fingers working a child-sized rosary.
Three other CHILDREN (7-12) play nearby — the remaining
Moretti victims, all with new identities.
Luis spots Cenzo and runs toward him. Monica follows more
cautiously.
CENZO
Ciao, ragazzi! Come state? (Hi,
kids! How are you?
LUIS MONICA
Nonno pazzo! (Crazy Grandpa) Nonno pazzo! (Crazy Grandpa)
Cenzo smiles, kneels, and embraces them.
CENZO
Luis. You've grown so much.
LUIS
Two inches! Mrs. Martinez measured
me on the wall.
Cenzo turns to Monica.
CENZO
And you? Look how you’ve grown!
Monica laughs.
MONICA
Grandpa, it’s only been a month.
CENZO
I know, but it seems like a year.
He kisses her cheek.
CENZO (CONT’D)
How are you, sweetheart?
She hesitates but then hugs him and squeezes tightly.
MONICA
I miss Mom and Dad. And you and
Grandma.
LUIS
Did you bring us anything?
MRS. MARTINEZ
Luis! Manners.
CENZO
(chuckling)
It's all right.
He produces small wrapped packages from his pocket.
CENZO (CONT’D)
For all of you. Make sure to share
evenly.
Cenzo yells to the other children.
CENZO (CONT’D)
Kids, I have some treats.
The other children gather excitedly, and Luis dishes out the
candies. Mrs. Martinez shepherds them inside, leaving Cenzo
alone with Luis and Monica.
LUIS
Grandpa, will you tell me about my
real dad again?
Cenzo's face shows complex emotions — pain, memory, guilt.
CENZO
What do you want to know?
LUIS
Was he brave?
CENZO
(nodding slowly)
Very brave. He saved many people.
MONICA
(speaking for first time,
softly)
Is that why the bad men hurt him?
Cenzo kneels between them.
CENZO
Your father made sure you would be
safe. That's what brave men do.
Monica pulls a rosary from her pocket and holds it up.
MONICA
I pray for him every day. And for
the angel who helped our friends.
(a beat)
They’re nice. I like them.
Cenzo's eyes shine with unshed tears. He takes the rosary
gently, studies it.
CENZO
Your father would be proud.
LUIS
I didn’t see any angel. Will we
ever see it?
Cenzo looks away, toward the horizon.
CENZO
Some angels watch from far away.
But they're still watching.
INT. SUBURBAN HOME — DINING ROOM — EVENING
The children eat dinner with Cenzo and Mrs. Martinez. A
normal family scene: kids laughing, arguing, talking about
games.
CENZO
(to Mrs. Martinez)
They seem happier.
MRS. MARTINEZ
(nodding)
Luis’ nightmares are less frequent,
and he’s doing well in school.
(glances at Monica)
She’s doing the best.
CENZO
She’s strong like her grandmother.
Mrs. Martinez studies him.
MRS. MARTINEZ
Any news?
Cenzo shakes his head slightly.
CENZO
(quietly)
Some ghosts stay buried.
Genres:
["Crime","Family Drama"]
Ratings
Scene
49 -
A New Identity
INT. PRIVATE MEDICAL FACILITY — UNDISCLOSED LOCATION — DAY
GIANNI lies in a bed by a window overlooking mountains. He’s
Thinner, paler, but alive. The facility isn’t a hospital —
it’s more like a high-end rehabilitation center.
Security cameras are discreetly positioned, and armed guards
patrol outside. Doctor Adams checks Gianni’s vital signs.
DOCTOR ADAMS
Your recovery is remarkable.
Statistically speaking, you
shouldn't be alive.
GIANNI
I've never been good with
statistics.
He attempts to sit up, wincing.
DOCTOR ADAMS
Six more weeks. Minimum.
GIANNI
I don't have six weeks.
DOCTOR ADAMS
You don't have a choice. Your body
nearly shut down completely.
Gianni relents, settling back.
DOCTOR ADAMS (CONT’D)
(continuing)
Your father-in-law called. You know
he’s the one who arranged this
place.
GIANNI
And?
DOCTOR ADAMS
The children are safe. They have
new names and a new home. He visits
them personally.
Relief crosses Gianni's face.
DOCTOR ADAMS (CONT’D)
He also said they're still looking
for you, perhaps not buying the
official story of being cremated.
(a beat)
But he said they are starting to
believe.
GIANNI
And the real story?
DOCTOR ADAMS
Only four people know you're alive.
Me, your in-laws, the director, and
your night nurse.
She adjusts his medication.
DOCTOR ADAMS (CONT’D)
You never told me why you did it.
Why you protected those children.
Gianni looks out the window for a long moment.
GIANNI
Years ago, I saw a boy die. I
couldn't save him.
DOCTOR ADAMS
So this is redemption?
Gianni shakes his head.
GIANNI
There's no redemption for someone
like me.
DOCTOR ADAMS
Then what?
GIANNI
Balance. In a world with no
justice, sometimes you have to
create your own.
She studies him thoughtfully.
DOCTOR ADAMS
What happens when you leave here?
GIANNI
Gianni Rossi stays dead. Someone
new takes his place.
DOCTOR ADAMS
And the men who did this to you?
Gianni's expression hardens.
GIANNI
Eventually.
MONTAGE: REHABILITATION
INT. REHABILITATION FACILITY — DAYS LATER
- Gianni performs grueling physical therapy. Sweat-soaked,
determined. Pushing beyond what the THERAPIST recommends.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
50 -
A New Beginning
INT. PRIVATE ROOM — NIGHT
- Gianni studies documents. New identity papers. Birth
certificate. Social security card. The name "MICHAEL Pirelli"
visible.
INT. BANKING OFFICE — ZURICH — DAY
- Freddy, the Bull, Matarese meets with Swiss bankers,
setting up new accounts and arranging transfers to offshore
accounts.
INT. REHABILITATION FACILITY — HALLWAY — DAY
- Gianni walks without support for the first time. Doctor
Adams watches with professional satisfaction.
INT. PRIVATE ROOM — NIGHT
- Gianni examines himself in the mirror. His new beard has
grown in, and his hair is a different style, minor physical
changes to complement the new identity.
EXT. REHABILITATION FACILITY — DAY
- Gianni, now almost unrecognizable as Michael Pirelli,
shakes hands with Doctor Adams. A black SUV waits nearby.
DOCTOR ADAMS
Where will you go?
GIANNI/MICHAEL
Better you don't know.
DOCTOR ADAMS
Those children are safe because of
you.
GIANNI/MICHAEL
And you are secure for life.
She nods, accepting this.
DOCTOR ADAMS
If you ever need medical help ...
She passes him a card with only a number.
GIANNI/MICHAEL
Thank you. For everything.
He gets into the SUV and drives away. Doctor Adams watches
until he disappears.
END MONTAGE
EXT. LOS ANGELES — SUNSET BOULEVARD — DAY
Sunshine, palm trees. A world away from the dark, snow-
covered streets of New York.
INT. REAL ESTATE OFFICE — DAY
MICHAEL PIRELLI (Gianni's new identity) signs paperwork. The
REALTOR smiles professionally.
REALTOR
Congratulations, Mr. Pirelli. The
condo is yours.
MICHAEL
It has the security features I
requested?
REALTOR
Everything. State-of-the-art
system, private elevator,
reinforced doors. As you specified.
Michael nods and signs the final document.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
51 -
Preparation for Revenge
EXT. HIGH-RISE CONDO BUILDING — LATER
Michael stands on a balcony overlooking Los Angeles. He sips
a glass of brandy as the sun sets behind him.
He unpacks a small box. Inside: a child's rosary. Monica's
gift. He holds it briefly, then tucks it away in a hidden
safe.
On the table: newspapers. Headlines about ongoing mob warfare
in New York. Gambetti family losses. Cenzo's organization
under pressure.
Michael studies them thoughtfully, then opens his laptop. He
begins research. Planning.
The Phantom is not yet ready to haunt those who tried to kill
him. But their time will come.
INT. LUXURY CONDO — LOS ANGELES — MORNING
Sunlight streams through floor-to-ceiling windows. The space
is minimalist, impeccably organized. No personal photographs,
nothing that reveals identity or history.
Michael/Gianni performs a rigorous workout routine — push-
ups, pull-ups on a bar installed in a doorway. His body has
recovered its strength. His scars are visible but his muscles
are defined.
He finishes, wipes sweat and checks his watch.
INT. CONDO — SECURE ROOM — MOMENTS LATER
A converted bedroom with reinforced door. Inside: a command
center. Multiple monitors, encrypted communications
equipment. One wall covered with a complex network of photos,
documents, and strings connecting them.
Michael sits at a computer and reviews surveillance footage.
The footage shows Luca entering a restaurant in Philadelphia.
The timestamp indicates it’s from yesterday.
Michael makes a notation and adds it to the wall, then steps
back to study the entire picture. The web reveals months of
meticulous intelligence:
— Photos of Luca meeting with GAMBETTI FAMILY MEMBERS.
— Surveillance of GAMBETTI OPERATIONS in multiple cities.
— Document fragments showing large money transfers.
— News clippings of CENZO at funerals, looking increasingly
aged.
— Photos of the HITMEN from the attack, two with red X's
through them.
— A central photo of Carlo Gambetti with connections to
everyone.
Michael touches a photo of the surviving children in Dallas,
taken from a distance. A rare moment of emotion crosses his
face before the professional mask returns.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
52 -
A New Identity
INT. CONDO — BEDROOM — NIGHT
Michael sits on the bed, cleaning a pistol with practiced
precision. The television plays softly in the background —
financial news.
He packs a single suitcase. Efficient, minimal. Cash.
Multiple ID documents.
MICHAEL
(to himself)
I can get weapons in Philadelphia.
He opens a safe hidden behind a painting. Inside: The child's
rosary we saw earlier. A photo of his children in Dallas,
taken from a distance. A small, worn photograph of Clorinda.
He touches each item briefly, then closes the safe.
INT. CONDO — LIVING ROOM — DAWN
Michael stands at the window, watching the sunrise over Los
Angeles. He's dressed in a perfectly tailored suit, hair
immaculate. No longer the recovering patient. No longer even
Gianni Rossi.
His phone RINGS.
MICHAEL
(answering)
The flight is confirmed?
VOICE (V.O.)
(filtered)
First class to Philadelphia. Under
the Richardson identity.
MICHAEL
And the house?
VOICE (V.O.)
Secured. Two blocks from the Pat’s
Steaks. Nothing fancy..
MICHAEL
Good.
He ends the call, takes one last look at the condo. At the
life he's built. Picks up his suitcase and walks to the door.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
53 -
A Toast to Revenge
EXT. LOS ANGELES INTERNATIONAL AIRPORT — MORNING
Michael exits a black sedan, sunglasses on. He doesn't break
stride. The Phantom is returning to where it all began.
BACK TO PRESENT
INT. GIANNI'S LIVING ROOM — NIGHT
Gianni sits in a chair, sipping his drink. Luca sits across
from him.
LUCA
What are you doing here?
GIANNI
It's time to settle up.
LUCA
Settle up? The people who did that
to you are probably dead. Hell, you
killed two of them when they
attacked you.
Gianni presses his lips together and scowls.
GIANNI
Two of them! There were five.
LUCA
(nervous)
Okay. I'll help you find them.
We'll get 'em.
GIANNI
You mean to tell me you've had all
this time, and you haven't found
them yet? You haven't found out who
almost killed your best friend?
LUCA
I'm sorry, Gianni. I should have,
but I'll do it now. I'll even help
take them out.
INT. GIANNI'S HOUSE — NEXT NIGHT
Luca enters and sits on the sofa. Gianni offers him a glass
of wine.
LUCA
I found one name, but he's gonna be
tough to get.
Gianni, disguised as a cocktail waiter, studies the layout.
He approaches a COCKTAIL WAITRESS.
GIANNI
(quietly)
Take five. I'll cover.
He slips her cash. She nods and gives Gianni her tray of
drinks.
A commotion breaks out at the entrance where a DRUNK PATRON
argues with security. Avellino's bodyguards turn to watch.
Gianni approaches and "accidentally" spills a drink on
Avellino's jacket.
GIANNI (CONT’D)
(apologetic)
I'm so sorry, sir.
While dabbing the jacket, he slips a hotel key card into
Avellino's pocket.
GIANNI (CONT’D)
(whispers)
Presidential Suite- alone. Five
minutes. Or the video goes public.
Avellino's face pales. Gianni walks away, discards the tray.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
54 -
Deadly Confrontation
INT. PRESIDENTIAL SUITE — LATER
Avellino enters cautiously. The room is dark.
AVELLINO
Hello?
The door locks behind him. Gianni steps from shadows.
GIANNI
Renaldo Avellino. Gambetti soldier.
Specializes in home invasions.
AVELLINO
(panicked)
Who are you?
GIANNI
The man you tried to kill. In a
country house. With a woman.
Recognition dawns on Avellino's face. Fear follows.
AVELLINO
We didn't know who you were. It was
just a job.
GIANNI
Who ordered it?
AVELLINO
I don't know. I swear. He just told
us where to be.
GIANNI
Who paid you?
AVELLINO
Cash. Through an intermediary.
Please —
A muffled gunshot. Avellino falls.
Gianni searches the body methodically. He finds a phone with
contacts. He finds nothing useful. Another dead end.
GIANNI
(on phone)
Luca, he gave up nothing. You get
any more names?
LUCA
One. Anthony Salvatore. He’s in
Miami, but he’ll be tough. You want
me to help?
Gianni hangs up, and grabs his laptop to search.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
55 -
Stormy Confrontation
EXT. MARINA — MIAMI — DAY
ANTHONY SALVATORE (50s, lean) boards his luxury yacht. Two
armed SECURITY MEN scan the dock.
Gianni, disguised as a deckhand in marina uniform, works on a
nearby boat. He's been watching Salvatore's routine for days.
A YACHT ATTENDANT approaches Salvatore.
ATTENDANT
Sir, there's an issue with the fuel
line. The mechanic needs your
signature.
Salvatore follows the attendant. His security men remain on
deck.
Gianni moves quickly and crosses to Salvatore's yacht. He
nods respectfully to the guards.
GIANNI
(holding ropes)
Permission to secure your lines,
sir? Harbor master's orders with
the storm coming.
The guards wave him aboard. Gianni works efficiently with the
mooring lines. Once done, he moves below deck unnoticed.
INT. YACHT CABIN — LATER
Salvatore enters his cabin and freezes. Gianni sits calmly in
a chair, fishing knife in hand.
SALVATORE
How the fuck did you get on my
boat?
GIANNI
Same way I'll leave. Unnoticed.
Salvatore reaches behind the bar.
GIANNI (CONT’D)
The knife behind the bar? I moved
it.
(shows knife)
Your reputation with blades
interests me. "The Needle," they
call you.
SALVATORE
(recognizing)
You're him. The one who survived.
GIANNI
Who hired you?
SALVATORE
You know how this works. We don't
talk.
GIANNI
How were you contacted?
SALVATORE
Same guy who always sets up the big
jobs. Been that way for years.
(realizing)
You don't even know who arranged
it, do you?
Gianni's expression hardens.
SALVATORE (CONT’D)
(laughing)
You're hunting shadows. Whoever set
you up, they're smarter than —
The knife flashes across the room, embeds in Salvatore's
throat. He clutches at it, eyes wide with shock.
Gianni retrieves the knife with surgical precision.
GIANNI
(quietly)
Not that smart.
Genres:
["Crime","Thriller"]
Ratings
Scene
56 -
Betrayal at the Borgata
EXT. YACHT — MOMENTS LATER
The deckhand slips over the side into a waiting boat as Coast
Guard sirens approach in the distance. By the time
authorities board the yacht, Gianni is already gone.
He checks his texts and sees a message from Luca: Dominic
“The Surgeon” Ferrieri. He nods, then books a flight to
Atlantic City.
INT. BORGATA HOTEL LOBBY — ATLANTIC CITY — NIGHT
DOMINIC "THE SURGEON" FERRIERI (60, sophisticated) moves
through the casino. Six bodyguards surround him — excessive
protection for anyone but the most valuable target.
Gianni, in a security uniform, monitors from a corner. He
observes Ferrieri’s routine — the same as what he was told.
The same suite every visit, the same schedule.
INT. HOTEL CORRIDOR — LATER
A HOTEL MAID pushes her cart down the hallway. As she passes
a supply closet, Gianni reaches out and pulls her inside.
INT. FERRIERI’S SUITE — NIGHT
Ferrieri’s bodyguards clear the suite thoroughly before he
enters.
BODYGUARD #1
All clear, sir.
Ferrieri dismisses them to the adjoining room, then begins
his nightly ritual — hangs up jacket, pours scotch, places
gun on nightstand.
He sips his drink, grimaces at the taste. He looks closer at
the glass, then at the ice bucket.
The bathroom door opens. Gianni emerges, holding a gun.
FERRIERI
(realizing)
I've been expecting you.
(a beat)
The Phantom. Back from the dead.
GIANNI
You assembled the team.
FERRIERI
Not personally. I connected the
client with the right people.
GIANNI
Who was the client?
FERRIERI
(sinking into chair)
I never met him directly. But I
know your friend set you up.
GIANNI
What friend?
FERRIERI
The one who found us all. The one
who tells you where to look.
(coughing blood)
Check your drink.
Gianni glances at his untouched glass. Realizes.
FERRIERI (CONT’D)
(smiling weakly)
They don't call me The Surgeon for
nothing. Poison in the ice.
Ferrieri’s breathing grows shallow. Gianni grabs him by the
lapels.
GIANNI
The names. All of them.
DOMINIC
(dying)
Gambetti paid for it. But your
friend Luca arranged everything.
He slumps forward, dead. Gianni stands frozen, processing the
revelation.
In the adjoining room, bodyguards laugh at a joke, unaware
their employer is dead.
INT. HOTEL ROOM — NIGHT
Gianni paces in his hotel room. The walls are covered with
photos, maps, timelines.
GIANNI
(to himself)
But I don’t need any of this. If
Luca could find the hitmen in days
... then he knew who did it all
along.
He crushes a glass in his hand, blood mixing with whiskey.
His expression hardens from shock to cold determination.
MONTAGE: THE GAMBETTI HIT
EXT. GAMBETTI ESTATE — AERIAL VIEW — DAY
A sprawling compound in upstate New York. High walls,
security cameras at every corner. Guards patrol with dogs.
INT. SECURITY ROOM — GAMBETTI ESTATE — DAY
The SECURITY CHIEF monitors multiple screens. He notices a
delivery truck approaching the gate.
EXT. FRONT GATE — CONTINUOUS
Guards stop the truck to check the driver's ID. A catering
delivery for tonight's meeting.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
57 -
Betrayal in the Shadows
INT. KITCHEN — LATER
CATERING STAFF (including Gianni disguised as a chef) prepare
elaborate meals. Gianni slips away unnoticed.
INT. AIR DUCT — CONTINUOUS
Gianni crawls through the ventilation system, plants small
devices at key junctions.
INT. CONFERENCE ROOM — EVENING
DON GAMBETTI (70s, powerful) meets with FIVE CAPOS. There is
heavy security presence. The capos discuss territory disputes
and recent losses.
GAMBETTI
These disappearances are
unacceptable. First Avellino, then
Salvatore, now Ferrieri.
EXT. PERIMETER FENCE — CONTINUOUS
A guard discovers a suspicious package. Calls it in.
INT. SECURITY ROOM — CONTINUOUS
The chief spots multiple perimeter breaches on cameras. Panic
erupts.
SECURITY CHIEF
(into radio)
Lock down the main house.
INT. CONFERENCE ROOM — CONTINUOUS
Guards rush in to evacuate Gambetti. Before they reach him,
the ventilation covers blow off. Smoke floods the room.
The capos and guards collapse, unconscious from the gas. Only
Gambetti remains conscious, protected by an oxygen device
under the table — his personal precaution.
He pulls a gun, scans the smoke-filled room.
The smoke clears enough to reveal Gianni standing before him,
gas mask removed.
GAMBETTI
(shocked)
They said you were dead.
GIANNI
They were right.
A single silenced shot. Gambetti falls.
EXT. GAMBETTI ESTATE — MOMENTS LATER
Chaos as police and ambulances arrive. In the confusion, a
groundskeeper (Gianni in disguise) calmly drives a
maintenance truck through a service gate. No one stops him.
NEWS FOOTAGE shows the aftermath. Headlines: "MOB BOSS
ASSASSINATED — UNDERWORLD WAR FEARED"
END MONTAGE.
EXT. LUCA'S HOUSE — NIGHT
A row house in a Philadelphia neighborhood. Lights glow
warmly behind curtains.
Luca parks next to the curb, then gets a bag of groceries
from the trunk. He fumbles with his keys at the door.
INT. LUCA'S HOUSE — CONTINUOUS
Luca enters, kicks the door closed behind him. He's halfway
to the kitchen when he freezes.
He slowly sets down the grocery bag, hand moving toward the
small of his back where his gun is holstered.
A lamp clicks on. Gianni sits in an armchair in the corner,
gun already pointed directly at Luca's chest.
Luca steps back, knocking over the groceries and send them
tumbling to the floor. Apples and other fruit roll across the
hardwood. He reaches for his weapon.
GIANNI
I wouldn't.
Luca's hand freezes. Their eyes lock.
GIANNI (CONT’D)
Why, Luca?
Luca shrugs, then, in a pleading voice:
LUCA
It wasn’t anything you —
Gianni shoots three times pfft, pfft, pfft, and all of them
find the mark, near the heart. He walks over and checks the
vital signs, then puts his gun away and leaves.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
58 -
The Phantom's Ultimatum
INT. PRIVATE CONFERENCE ROOM - NEW YORK - DAY
Present are Cenzo Romano, EMILIO GAMBETTI, son of Carlo (38,
brash), NINO GENNARO (55, complacent), BENITO VELLANI (60,
fierce), and CARMINE MANCINI (60s, reasonable). They sit at a
long conference table meant to seat twelve. Cenzo and Carmine
sit at each end. Each has two bodyguards.
Benito stands, resting his hands on the table.
BENITO
Something needs to be done about
this ... this Phantom. He’s walking
around killing anyone he wants. I
think it’s time we struck back. I’m
willing to contribute my share to
have him taken care of.
Emilio jumps up before Benito even sits.
EMILIO
I’ll put up twice what everyone
else does. This maniac killed my
father. He needs to go.
Carmine stands with some difficulty.
CARMINE
I understand why everyone is upset.
Or should I say afraid?
He points at Emilio.
CARMINE (CONT’D)
It’s no wonder you are so
passionate. He killed your father,
yes, but your father killed his
wife, and almost killed him. Now
you want the rest of us to risk our
lives to satisfy your quest for
vengeance, or your fear of
retribution. Either way, it’s not
my concern.
A knock at the door stops Carmine from talking. Cenzo
gestures for a bodyguard to answer the knock. A man enters
and hands the bodyguard five envelopes with the family names
on each of them.
Each person opens the envelope and reads, then Carmine
speaks.
CARMINE (CONT’D)
I presume we all received the same
letters, so I won’t go into all
details, but I do want to cover the
main points.
(reading)
You know who I am. You know what I
can do. I’m through with hunting -
if you are.
(a beat)
Leave me alone, and I’ll do the
same. Come after me, and I’ll kill
the man you sent, then kill the
head of the family who sent him. If
I can’t find out who sent him, I’ll
start killing all family heads, and
I won’t stop until it’s done.
Carmine sets the letter on the table and looks at all the
bosses.
CARMINE (CONT’D)
As far as I’m concerned, this seals
it. We abandon any ideas of going
after him. We let him live his
life.
Emilio jumps up again.
EMILIO
(angry)
You’ve gotten soft, Don Mancini.
In your younger days, you’d never
let this go.
Carmine smiles.
CARMINE
You speak with a lot of bravado,
but I imagine if you were staring
down the barrel of the gun this
formidable assailant uses, you’d
sing a different tune. Besides, I
doubt any of our hit men would take
the assignment.
BENITO
Carmine’s right about that. I
talked to several of mine before
the meeting. They said “no”
emphatically.
NINO
My men don’t even talk about him
unless it’s to say how damn good he
is.
Cenzo stands, commanding everyone’s attention.
CENZO
Everyone knows I have person ties
to Gianni, but I can state without
hesitation that if he made this
offer of peace, he will keep his
word. He’s never done otherwise.
(a beat)
I ask for a show of hands.
Everyone sits, then takes a moment to think. Carmine smacks
the table after a reasonable amount of time. Let’s vote.
Raise your hand if you vote to leave Gianni alone.
The show of hands is four to one. Only Emilio didn’t agree.
CARMINE
I’m speaking for the tradition of
the Council when I say this,
Emilio. If you go after Gianni, not
only will you face his wrath, but
ours as well — all of us.
NINO
How do we let him know of our
decision?
CENZO
I’ll let him know.
INT. GIANNI’S HOUSE - PHILADELPHIA- DAY
Gianni picks up the phone.
CENZO
It’s done. They voted to let
sleeping dogs lie.
Gianni sighs.
GIANNI
Thank you, Cenzo. Grazie mille.
CENZO
Prego, Gianni. Now let’s plan on a
visit to Dallas.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
59 -
A Bittersweet Reunion
EXT. SUBURBAN HOME — DALLAS, TEXAS — DAY
Cenzo pulls into the driveway and exits the car. He reaches
over, putting a hand on Gianni.
CENZO
Wait here. I’ll call.
Cenzo knocks on the door and Mrs. Martinez lets him inside.
The kids bound down the steps, shouting.
LUIS MONICA
Nonno pazzo! Grandpa!
Cenzo kneels down and hugs them.
CENZO
I miei bambini preziosi! (My
precious babies!)
MONICA
We didn’t know you were coming.
CENZO
That’s because I have a surprise. A
big surprise.
LUIS MONICA
What’s the surprise? Did you bring special
presents?
Cenzo smiles, then he laughs.
CENZO
You might say that. But the
surprise was so big I couldn’t
carry it in. I’ll call for it now.
Cenzo dials his phone.
CENZO (CONT’D)
Bring in the surprise.
The kids wait patiently, though their eagerness shows.
Suddenly, the front door opens and Gianni walks in.
For a moment they stare as if they are struck speechless,
then Luis runs across the room, Monica right behind him.
LUIS MONICA
Daddy! Daddy! Dad! You’re alive!
Gianni sits on the floor hugging and squeezing them.
GIANNI
Oh my God, I love you. I love you
and miss you.
His tears flow freely, but the kids won’t let go of him. They
cry too.
LUIS
Are you staying with us?
MONICA
You’re not leaving are you?
Gianni pushes them back and wipes his eyes.
GIANNI
I’m not going anywhere. Not ever
again. We’ll be family.
LUIS
Is Mommy alive too?
Gianni’s face grows somber. He pulls Luis to him and holds
him.
GIANNI
No, Piccolino. Mamma is not alive.
I wish she was, but she isn’t.
MONICA
Are you going to live with us now?
GIANNI
No, we’re going somewhere else, but
we’re going together. And it will
be someplace nice.
Luis sulks and he shuffles his feet.
LUIS
What about our friends?
Gianni smiles.
GIANNI
They’re coming with us — all of
them.
He looks up.
GIANNI (CONT’D)
Mrs. Martinez too. If she wants.
She nods.
MRS. MARTINEZ
I would be honored, Señor.
Gianni stands up, and grabs the kids shoulders.
GIANNI
That settles it then. Introduce me
to your friends, then we’ll all get
ready to leave.
LUIS
Where are we going?
GIANNI
Someplace you’ll love. It’s a nice
house, and it’s on a beach, and the
weather is nice all year long.
Genres:
["Drama","Family"]
Ratings
Scene
60 -
Embracing the Present
EXT. COSTA RICA - BEACH - DAY
Golden light bathes a pristine beach where gentle waves lap
at the shore. Palm trees sway in the breeze.
The small village behind the beach has colorful buildings and
a relaxed atmosphere far removed from the urban intensity of
New York or Philadelphia.
A modern house sits on a slight elevation, providing both
privacy and a stunning ocean view. Its design blends with the
landscape — lots of natural wood, open spaces, but with
subtle security features visible only to the trained eye.
BEACH — CONTINUOUS
Gianni stands at the water's edge, watching his children. He
looks different — more relaxed, linen shirt untucked, bare
feet in the sand, but still alert, still scanning the horizon
periodically.
Sofia (19) practices yoga on a mat near the shoreline, her
movements graceful and controlled. Her mother's features are
evident in her face.
Marco (15) kicks a soccer ball with LOCAL BOYS further down
the beach. His natural athleticism and intensity remind
Gianni of himself at that age.
Sitting under a beach umbrella, Mrs. Martinez watches over
the scene like a guardian angel. She sorts through fresh
fruit from the local market, occasionally glancing up to
check on them all.
Gianni walks over, sits beside her in the sand.
MRS. MARTINEZ
(in Spanish-accented
English)
Three months now. You still look
for threats on the horizon.
GIANNI
Old habits.
MRS. MARTINEZ
(nodding toward the
children)
They do not look for threats. This
is good.
Gianni watches Sofia complete a complex yoga pose, Marco
score a goal and celebrate with his new friends.
GIANNI
You protected them well. All those
years.
MRS. MARTINEZ
And now we protect each other, no?
She hands him a mango slice. A simple gesture of family.
MRS. MARTINEZ (CONT’D)
(continuing)
Sofia tells me she wants to study
international law. To help
children.
Gianni nods, watches his daughter.
GIANNI
Like her mother wanted.
MRS. MARTINEZ
Marco asks about you and what
happened in the past. What to tell
him?
GIANNI
The truth. When he's ready.
The soccer ball rolls toward them. Marco jogs over, grinning.
No trace of the traumatized boy who lost his mother — just a
teenager enjoying life.
MARCO
Dad, come play.
(turning to his friends,
excited)
Wait, show them the coin trick
first.
The LOCAL BOYS gather around, curious. Gianni smiles
slightly, reaches into his pocket for a coin.
GIANNI
Haven't done this in a while.
He displays the coin, begins manipulating it between his
fingers with remarkable dexterity — appearing, disappearing,
dancing across his knuckles. The boys watch, mesmerized.
Then he flips the coin in the air, and kicks it back up with
his foot. The coin soars upward, and he catches it in his
hand.
LOCAL BOY
(in Spanish)
Your father is magic!
Marco beams with pride.
MARCO
He can do lots of things.
Mrs. Martinez watches as Gianni joins the soccer game, moving
with the natural grace of a man who knows how to use his body
efficiently. The father plays, but his eyes still scan the
surroundings — old habits indeed.
Sofia finishes her yoga, joins Mrs. Martinez under the
umbrella. They watch Gianni and Marco together.
SOFIA
He's different here.
MRS. MARTINEZ
This place heals.
Sofia takes Mrs. Martinez's weathered hand in hers, a gesture
of gratitude between two women who have become family through
circumstance and choice.
As the sun dips toward the horizon, Gianni looks back at them
— his son beside him, his daughter and Mrs. Martinez watching
from shore. For the first time in years, his face shows
something approaching peace.
EXT. LOCAL RESTAURANT - EVENING
A local restaurant owner waves from his beachfront patio,
signaling dinner is ready.
The family gathers their belongings and head toward the
lights and music of the village.
Gianni takes one last look at the darkening horizon, then
turns his back to it.
GIANNI
That life is done. I’ve got
everything I need now.